Archive for the ‘art’ Category

Grey day play

December 12, 2016

Be forewarned there is female nudity here so if it offends you leave before viewing.

The other day a traveling model from Model mayhem recontacted me about shooting together and this has been a slow month maybe even longer than a month since shooting and I liked a couple of her portfolio pictures and I though, why not? I just had a cancelation on another shoot and I was ready. I do get excited about shoots even a headshot, my wife describes this as nervous but I think of it as anticipation which I think we artists all share. Will I be good enough, will what ever I am planing work, will people laugh at me? They have. Taking photos isn’t a life and death situation unless it is.

As you can read latter in this post how I screwed up during this session. Oh well.

Zi rang my bell 7 minutes before the arranged time, that’s a positive sign which means she’s professional and a smart lady even caught some type o’s in my model release, cool. We talked about makeup well lipstick color which she applied while I pulled down the paper. Then we looked through some clothes I had and made a pile to try.

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Beginning with this jacket I don’t remember having, it’s nice to discover something new. I really didn’t need to direct her because she would go from pose after hearing the click of the shutter. I see I should have fixed her face as it looks rough in this pose. I do try and make women look nice, must be something I got from my mother.

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Since the lighting is mostly set up I usually turn on and turn off units as needed. Which gets boring and I keep telling myself I need to  get out of this rut. But here I go again.

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I don’t think she ever said no to anything I suggested. A lovely pleasant young woman easy to work with.

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She did most of the work all I did was plug and unplug things and push the shutter. She had some Shibari rope work in her portfolio and I had asked her if she was up for it. ‘Sure’. She has her own rigger which is a bit intimidating to me the beginner.

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This is what I came up with her. I’ve always wanted to do a braided tie like this, I don ‘t know the names these ties but go on the visual effect

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not too bold but interesting for just one rope length.There feels as something is incomplete with this tie as it goes around the waist with no beginning nor end. Is there ever?

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we tried on the different clothes again. Someone had given me this headdress awhile ago but never found the opportunity I think it works here.

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We talked during the shoot to loose the Voyeuristic quality of the moments and to become human beings and not objects. I guess Zi would be called a ‘rope bunny’ which is what women are called who enjoy the freedom of being bound.

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Zi has a boyfriend and a different rope play partner/rigger receiving different needs from both. Working with these women is so insightful for me from the first woman who said she enjoyed being tied up. That surprised me somewhat as we had never talked about that before. But the more I learn the more I know.

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That there is a freedom and delicacy in not being in charge. Hell I get that feeling of not being in charge when ever I go to work at the Beacon as soon as I leave the house.

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At some point in time I accidentally moved the sync shutter speed out of sync with the flash units, going up to 250 from Canon 200. Check, check, check remember to take off lens cap.Check shutter speeds.

As you can see here the right side of the above picture is dark because stupid me didn’t check the shutter speed as I had moved it off the sync speed. Imagine my chagrin when looking at them in bridge.Sometimes I shoot bigger thinking I will crop latter but then I get so involved I forget, oops.So a few didn’t make the HD.

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This one only the chair is darker so no big deal

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But most of this series on the rug is trash as you can see below.Ugh

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I am glad someone wasn’t paying me for this shoot. All though I did pull something out of this but nothing is perfect. Oh well.

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These below I managed to save  because of cropping

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Sometimes you win, sometimes you loose. What I was trying to do here is show off this lovely woman who had worked so hard for me.

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It wasn’t an unproductive afternoon for neither of us. I learned an important part of photography check, check, check everything. I always say it not quantity but quality

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so if I only get a few pictures I can use fine. This afternoon I connected with another human being and made a few enjoyable pictures. _mg_3619

So this is all I have to share today. I hope my few readers enjoy my efforts. At least two of us walked away with something we came for.Then as planned I took a nap.

Jene

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Playing around with a new phase

November 7, 2016

It seems as if I’ve forgotten things I knew just a few moments ago. My computer is going wacky on me and every time I think it’s fixed out it goes. Even logging into fuzzy was a challenge trying to connect with a model via home I got a message call back later.

But the new phase is exploring how a liquid medium flows across a solid body, seems simple enough. But things don’t always go the way you envision them.

model in red

model in red

But when you’re just fooling around what ever you get is fun. This picture shows the whole set up having her set on a black covered bench against black backdrop. The clean up was done on her taking a shower between colors and cleaning the floor and blending in CS PS6.

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We were alone and we would set her position  I poured the paint then grabbed the camera and shot a few pictures. Then off to the shower to wash her off while I cleaned off the set.

Some colors worked better than others or we were getting into it more.

 

Golden back

Golden back

gold

gold

golden streaks

golden streaks

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As I said sometimes it works, sometimes not but if one has to have someone fun to work with why not.

bluish

bluish

 

front view

front view proud lady

Coy

Coy

 

 

 

 

 

 

 

 

 

 

 

 

 

I think this is one of my favorite shots

Portrait of a nude

Portrait of a nude

Laura didn’t need much direction and if I didn’t cut off her head feet and arms I thought we were doing pretty good.

Pink lady

Pink lady

 

 

 

 

 

This is an odd color for me but she had fun with it.

look what happens if I do this

look what happens if I do this

Classic

Classic

 

 

 

 

 

 

 

 

 

 

 

or this classic look

messy

Off to the showers

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profile

profile

What's she thinking?

What’s she thinking?

 

 

 

 

 

 

 

 

 

 

 

sensual woman

sensual woman, showing everything revealing nothing

 

 

 

 

 

 

 

 

 

 

 

 

 

Time to put the house back in order enough fun for the day.

Jene

New work, male nude, ode to old master painters.

June 28, 2015

Yes as it says i went back in the studio after meeting this fellow you never know what’s going to happen , at least i don’t. i am sure there are a million togs out there who know everything about their camera settings and what adjustments will effect what and how so. me it’s a crap shoot.

I do know lighting so that is a plus and just learning model direction but i am still shy about that, why? –  guess it was the way i was raised. Not to say i haven’t learned a few things pushing the shutter button as often as i have. i am not stupid, i just act that way sometimes.

Warning there is male nudity here which might be offensive to some while others might be looking for it.

I hope my readers aren’t offended by this but this is what i seem to do best, studio lighting, just learning other stuff.

Hands

Hands

While the model was willing to pose naked he wasn’t that interested in have his name or face posted on the internet which isn’t a problem for me.

male nude sitting

male nude sitting

so i began to feature his hands because most people don’t know what to do with them during a photography session so why not begin there. he’s not an experienced model just has a nice body. Looking through the images these reminded me of some of the landscape images i got in Antelope Valley slot canyons see my photo shelter web site

hands on knees

hands on knees

Because of the time of day and the heat temperature in studio i shot these using my White lightning strobes, this image is just one downlight.

male midsection

male nude torso

below is one of the images he thinks is beautiful. yes it does show his body which is what he was interested in doing.

male nude torso

male nude torso

now these are just quick picks of the raw files nothing much done to them, made some levels adjustments. i get tired of shooting the same things over and over so i move on. I showed a print of another fellow i shot years ago. he liked it so i dug around pulling out a piece of wrinkled fabric, here thry this on.

draped nude male

draped nude male

‘what do i do?’  he asked. just move around feel the fabric i answered.

male nude torso

male nude torso

you can see he has a nice body and deep set eyes which worked for me and my lighting style. i decided to try something different since this black fabric poked out when pulling the other fabric from the box.

black drapped male nude

black drapped male nude

what a line huh? I always tell people i don’t need a hundred images just one or two, well here is one. below is anoher untouched image i’ll work on.

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nude in black

nude in black

again the movement wasn’t working as well as i wanted so we sat down on the floor.

male

male

abstract male nude

abstract male nude

portrait

portrait

portrait ll

portrait ll

i like the first one better

I will end this post with my all time favorite image not to say the other images aren’t good and all my little darlings this one was developed in camera as i knew what I was going for.

1st image

1st image is the keeper. My Caravaggio, see his work here or it could be a Rembrandt van Rijn here

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Both of whom we have seen as paintings in person while traveling in Europe. the above image reminds me of one of Rembrandt’s self portraits.

These paintings Rembrandt’s and Caravaggio’s are so awe inspiring to me which i’ve always had a hard time thinking my work might be. but at this point in my life maybe i can hit one out every once in a while.

jene

Jene and Mary Youtt’s ‘Hell’s Kitchen Art Festival’ exhibition

May 16, 2013

Here it is another Hell’s Kitchen Art Festival studio tour. This year because of movie commitments i decided to exhibit my work in a local restaurant called braai , 329 W 51st St, New York, NY 10019 (212) 315-3315. One can just stop by and see my work without buying anything but i’d hope you contact me and buy a picture to hang in your house to cheer you up.Screen shot 2013-05-08 at 6.40.49 PM

Very interesting menu and a great luncheon special at $12.95 which mary and i hope to try very soon.  The place is very open and airy with their rear skylight along with a friendly staff.

Mary is also showing at Basmati Restaurant  – 764 Ninth Avenue (btw. 51st and 52nd St) as part of the Artist tour. see her link for pictures of her work.

I’ve been involved with the Hell’s Kitchen Festival from the beginning and putting together an event like this isn’t an easy thing to do. It’s an all volunteer event usually held around the Ninth Ave Food festival weekend to draw more people. The Hells Kitchen Guild Association publishes a magazine highlighting the Hell’s Kitchen neighborhood and artist living in the area.

At one time this neighborhood was the home to many actors who worked in the many local theaters. Since redevelopment in the neighborhood due to it’s central location a project in the 70’s called Manhattan Plaza was formed using HUD  monies providing a certain percentage of apartments to people involved in the performing arts. This has been an anchor to the neighborhood and performing arts community providing affordable housing and a decent place to live.

Local artist have a very difficult time finding affordable housing in this multi million dollar housing market. Across the street from me Verizon has sold part of it’s building to real estate developers converting the top floors into multi million condo’s. The hospital behind me and next door is being converted to luxury apartment rentals.

So the Art of money seems to be the new American art form along with our local PBS station being the riches station in the network while providing no local produced shows. I sometimes wonder did i go into the wrong business ? Does anyone care about the arts anymore?

From my limited perspective i see some wonderful art streaming along the internet inspiring all who visit it. But that’s just it one has to go looking for it and in this fragmented society we don’t seem to be doing much exploring. This maybe the final frontier, we have found the enemy and it is us.

I hope not.

jene

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Tell Adobe to go FU*K themselves with their Cloud

May 15, 2013

DIGLLOYD Takes On The Adobe Creative Cloud…

by Damn Ugly Photography

diglloyd

The past 24 hours at Damn Ugly have been pretty damned busy. We’ve gotten more hits from that Adobe post than just about anything I’ve written about in years! And as I continued scanning the interwebs to see what far smarter folks than me are saying about the entire mess, a came across a treasure trove of information posted by Lloyd Chambers, the Capo di tutti capi of making your Mac computer Ferarri-fast. Lloyd is also known as DIGLLOYD…the driving force behind MacPerformanceGuide.com…and he devoted a few days going over the fine print of the new Creative Cloud scheme, and he’s none too happy about any of it. He breaks down…with a whole lotta very funny & sarcastic asides…a whole mess of stuff I hadn’t even thought of, not the least of which is the particularly heinous contract Adobe expects you to sign prior to joining their Big, Happy Cloud Community. I loved the part where he said that since he actually took the time to READ the contract, when it came to the point at the end where he had to click the ‘ACCEPT’ button, the page had timed out!!! Apparently Adobe never intended ANYONE to actually read what they were gonna give away before signing the thing!

Now a warning…as with my post yesterday, reading through this requires a certain investment in time, but trust me, it’s well worth it! As a public service to all my Damn Ugly groupies, I’m linking to all of what Lloyd dropped over at MacPerformanceGuide.com regarding the cloud. Enjoy!

Adobe Clouds Software Choice (Adobe Creative Cloud Only Going Forward)

Adobe Creative Cloud: Date of Birth Mandatory, Lopsided Legal Agreement

Adobe Creative Cloud: Lopsided Legal Agreement

Adobe Creative Cloud: A Time-Wasting Chat

Adobe Creative Cloud: No Fair Warning Given for Upgrades

Adobe Creative Cloud: Why no ‘Buyout’ or Read-Only Option?

Adobe Creative Cloud: Reader Comments

Adobe Creative Cloud: The Main Point

Adobe Creative Cloud: Summary View

Adobe Creative Cloud: The “Toaster”

Adobe Creative Cloud: Activate/Deactivate and “Phone Home” License Check

And please…if you haven’t done so already, head on over to www.change.org and sign the petition to get Adobe to offer us users a choice!!!

8 ways to flatter women using one light

May 15, 2013

8 ways to flatter women using one light

I often work outdoors with just the sun as my one light source or in very tight spaces, with little room for more than the model, me, the makeup artist, and one strobe. There are many wonderful ways you can use one light source to flatter the women you photograph, and it’s nice to have a handful of go-to lighting scenarios that are easy to execute, consistently reliable, and flattering to the majority of women. I have included eight looks that are just that, which I think are particularly useful for boudoir photography.

Mix it up and make it your own

The following scenarios are techniques that you can borrow to inspire your own work. Think of them like recipes and trust your inner artist to add, subtract, or tweak them to your taste.

Within each of these looks are many alternatives. With just this single light source, it’s possible to create a wide variety of looks, even with just slight adjustments. You can vary the height of the light, the angle of light, the distance of light to subject, the distance of camera to subject, the position of camera in relation to the subject, and your choice of accessories— not to mention changing your exposure settings, background color, her wardrobe color, and so on. Experiment with each lighting scenario, have a good time with it, and make it your own. Take it a step further and add your own creativity. You can also use these setups as a base and then start adding on additional lights if you like, such as a hair light, a second fill light, or a light pointed at the backdrop. But for me, simple is usually the way to go.

A couple of small but important technical details: All setups with strobes were at the lowest power, 2.3—about 30W. In most cases, a higher- or lower-wattage strobe could produce a very similar look, as would continuous lights. (Continuous lights are different from strobes in that they stay on all the time. For simplicity’s sake, I don’t cover those in this book, but you could easily do any of these lighting setups with continuous lights instead of a strobe.) Because describing it is nothing like seeing it, I’ve included demos at christameola.com/artofboudoir.

What’s the story you want to tell?

When creating a lighting setup for a shot, I ask the following questions to help guide my decisions. The first is one I’ve emphasized previously: What is the story I want to convey and what is my focus? Is it her facial expression, the curves of her body, her clothes, the setting? Which lighting setup will help me communicate that and pinpoint the focus there? And most important: Is it flattering to the subject? Do we want to enhance or de-emphasize certain body parts?

Keep these questions in mind as you read through the following lighting scenarios and consider how you would use each one with the women you would like to photograph.

1. Gorgeous backlighting

Shooting a subject backlit is one of my favorite techniques and is an extremely easy setup. Whether using the sun as the main source or an artificial light, this scenario is great for flattering women of all body types and for creating a striking image with a feeling of luminosity and joyfulness. When shooting indoors and only with natural light, I place my subject in front of a window (the main light source), and then make a few different choices depending on the following:

If my model is modest, I like to try a few shots placing her behind sheer fabric or sheer curtains, so she feels and appears less exposed, as we discussed in the “Styling” chapter of the book.

Then I decide whether or not to add one or two large white reflectors just to the side and in front of her to act as fill light, depending on my focus and the amount of light in the room. For Figure 1, I did not use a reflector since the available light in the room was enough and what I’m focusing on here is her form, not necessarily her face or catch lights in her eyes.

Figure 1. By overexposing this image, we blow out the outer edge of this young woman’s belly, back, bum, arms, and upper thighs, giving her an even slimmer appearance.
50mm lens, ISO 100, f/2.2, 50 sec.

You can also experiment with the model in front of the sheers (Figure 2). Here, since we see her face and the room was fairly dark, I did use a reflector just to the side and front of her to bounce light back onto her body and face (Figure 2).

Figure 2. This behind-the-scenes shot shows the placement of my two reflectors used together and how close they are to the model.

Finally, I consider my model’s modesty level as well as what she loves about her body and adjust my exposure accordingly. By varying exposure, we can control how much of the model’s body we see or don’t see. If your subject is modest or unsure about how much nudity is too much for her, you can give her a few options by capturing this shot at different exposure levels. You can see nothing but a silhouette by underexposing, her entire body by overexposing, and every level in between.

There are two additional benefits to overexposing. First, you can blow out unattractive or distracting backgrounds. Second, you can give her a slimmer appearance if she so desires by blowing out the edges of her body, as in Figure 1, so its outer edge cannot be detected.

Equipment:

  • 42 x 72-inch and 42 x 42-inch white reflectors (Figure 1)
  • Multiboom light stand (Figure 1)

2. Sultry, low-contrast lighting

For this setup, I wanted a subtle look and sensual mood, so I went for a low-contrast, low-light effect, something seductive that will flatter the woman who wishes to de-emphasize certain body parts, such as her stomach, arms, waist, chin, or even legs, depending on how you position her (Figure 3).

Figure 3. Whether your subject is standing or sitting makes a significant difference in how much light hits her legs. Here. I have her slightly seated to push her legs forward toward the light, since she loves her legs.
50mm lens, ISO 200, f/2. 160 sec.

For this look, I placed a single strobe fitted with a medium softbox overhead and a large white reflector about a foot away from the model and slightly to the side (Figure 4). The reflector is just enough to cast a soft, even light across her whole body. Set your camera to underexpose by a couple stops, and you’ve got a beautiful shot with sensual mystique.

Figure 4. You can see just how close the reflector and light are to the subject.

You can experiment with this setup by adjusting her proximity to the light (Figure 5). Inching your subject forward or back a few inches dramatically affects the result, and the reflector adds just a bit more information to evenly light her body so you don’t get a disconnect. Her tummy and back of arms are hidden, disappearing into the shadow. You can further experiment if you’d like to see more of your model’s body outline by choosing a lighter backdrop, lighting the backdrop, selecting lighter colored clothing, or increasing your exposure.

Figure 5. It’s important to make sure your model doesn’t end up directly under the light, in which case the light would be strong and entirely on her head, blocking the light from reaching her body.

Equipment:

  • Elinchrom BXRi 500W Strobe
  • Elinchrom 27 x 27-inch Rotalux Softbox
  • Elinchrom Skyport Speed Transmitter
  • 42 x 72-inch white reflector
  • Two multiboom light stands
  • Black muslin backdrop

3. Simple, slimming short lighting

Short lighting and its opposite technique, broad lighting, are excellent techniques to flatter faces and bodies by creating the appearance that they are either narrower or wider, respectively, than they truly are. Short lighting occurs when the main light illuminates the side of the face or body furthest from the camera, which means that the majority of the subject’s face or body is in shadow (the side closest to camera), thus giving the appearance of a slimmer face or body (Figure 6). Broad lighting is the exact opposite, where the majority of the subject’s body is in brighter light, creating the appearance of a wider body. So just by choosing which side to photograph your subject from and which side of the light to place her on, you can affect how wide or narrow she appears.

Figure 6. This curvy gal’s face and body appear slimmer with a classic short-lighting setup.
85mm lens, ISO 400, f/2, 80 sec.

When shooting indoors and shooting with natural light, my subject is positioned to the side of a window (the main light source) with black muslin behind her, either taped to the wall or on a background stand (Figure 7).

Equipment:

  • Black muslin backdrop
  • Household fan
Figure 7. Vary your subject-to-light distance according to how strong the light is and whether or not you have diffusing material. I like to start about six feet from the window and then tweak it from there.

4. Full-length flattering lighting

For more fashion-style boudoir and full-length portraits, I love the ease of a big Octabox. Placing your main light slightly above eye level, angled down, and just off to the side in front of your model is my preferred position (Figure 8) to add a touch of shadow and dimension to her body and create a pleasing shadow under her chin (Figure 9). Placing the fan directly under the light will create wonderful movement in her hair and clothes (if she’s wearing any).

Figure 8. The fan and the Octabox are as close as possible to being directly in front of the model without getting in me shot.

Since we were shooting a full-body shot in Figure 9, we chose the 53-inch Octabox, which creates some of the softest and most beautiful light. This is plenty to light a full-length subject as well as the background if you bring your model close enough to the backdrop. Here, the model is about four feet from the background (Figure 10).

Figure 9. This is a flattering look that works well with almost everyone.
50mm lens, ISO 200, f/2, 160 sec.

Equipment:

  • Elinchrom BXRi 500W Strobe
  • Elinchrom 53-inch Rotalux Octabox
  • Elinchrom Skyport Speed Transmitter
  • Multiboom light stands
  • Gray seamless backdrop
Figure 10. This behind-the-scenes show shows how high the light is and its slight downward angle, as well as the low angle I shoot from to flatter full-length bodies.

5. Side lighting to dramatically enhance or reduce curves

This dramatic look is extremely flattering to body conscious women, whether they are looking to create curves or de-emphasize them. By placing the light source directly to the side of the subject (and either slightly in front of or behind her) and moving yourself on an arc in front of or opposite to the light (Figure 11), you can create a number of looks. (See chapter 6 of my book for examples).

Figure 11. This diagram shows the arc that you can position yourself along to have either more or less of your subject’s body fall into shadow.

The 3 biggest lighting mistakes and how to avoid them

The biggest mistake my students make in terms of lighting is neglecting to pay attention to how the light is falling on the model’s face. Make sure you know where your main light source is and that, in particular, it does not fall below her face, which casts very unattractive shadows I call “horror lighting.” Light her intentionally. Any shadows should be “drawn” for a reason, and make sure that if your assistant is holding the reflector, she doesn’t inadvertently lower the reflector as her arms tire, causing the fill light to come from below your subject’s eye level.

Another misstep I often see is that the subject is lit so flatly that there are no pleasing shadows creating interest, depth, or flattering curves. Make sure you angle yourself or your light to create some depth with shadows, and experiment with not using a fill light, unless a flat look is what you are intentionally going for.

Lastly, some students become so preoccupied and distracted by their lighting equipment that they forget to engage with their subject, resulting in a moment that lacks interest. Keep in mind that connection with your subject takes priority; it shouldn’t be sacrificed to fiddle with gear. Find your best light, tweak it, and then practice bringing your focus and attention to creating a rapport with your subject. Gently remind yourself of this throughout the shoot.

6. Sexy noir lighting

The deep shadows and strong highlights of film noir are a natural fit for boudoir photography. This look is a fun one for women looking to evoke a certain era or who love the extreme chiaroscuro look and drama of the darkest blacks and lightest whites (Figure 12).

Figure 12. I kept the model bright and the background dark without blowing everything out by exposing for her fair skin.
50mm lens (with .9 neutral density filter), ISO 200, f/2, 160 sec.

While there are a multitude of ways to create this look with other equipment, I thought it would be great to show this setup using the same gear we’ve being using for the rest of this chapter. Using the medium softbox off to a 45-degree angle, we aimed it at our model. To narrow the light and keep it from spilling onto the backdrop, except where we desired, we put two flags in front of the light (Figure 13).

Figure 13. This behind-the-scenes photo shows how close together the flags are (only a couple of inches apart).

Equipment:

  • Elinchrom BXRi 500W Strobe
  • Elinchrom 27 x 27-inch Rotalux Softbox
  • Elinchrom Skyport Speed Transmitter
  • Multiboom light stand
  • Two flats used as flags Gray seamless backdrop

7. Universally flattering clamshell lighting

Clamshell lighting is very popular for beauty closeups; it’s super easy and simple, and it flatters everyone. The main light is raised above the model and angled 45 degrees downward, and the silver reflector acting as fill light is at her waist level, angled 45 degrees upward (Figure 14), which looks like a clamshell from the side.

Figure 14. You can see how the reflector is positioned on her lap.

This is a quick, no-fuss setup. The light is soft and wrapping, great for women of all ages. You can do this with an umbrella, a beauty dish, or even natural light. It’s a good trick to reduce the appearance of blemishes, under-eye shadows, or bags, as you can see in (Figure 15). You still see light shadows, which I love, but they are so subtle, and this woman seems to glow from within.

Figure 15. The silver reflector eliminates deep shadows, creating a luminous glow.
50mm lens, ISO 200, f/2, 160 sec.

Just make sure your subject doesn’t lean too far into the shot, or she will be more lit by the silver reflector, which will create that upward unflattering horror effect—not good on anyone! You want to make sure the top light is brighter than the lower fill.

Equipment:

  • Elinchrom BXRi 500W Strobe
  • Elinchrom 27 x 27-inch Rotalux Softbox
  • Elinchrom Skyport Speed Transmitter
  • Multiboom light stand
  • Gray seamless backdrop 42 x 72-inch silver reflector

8. Seductive and flattering feathering

I love the look and mystery of a form disappearing into the background. This is another technique to flatter women of any size, since you can’t see where the body ends (Figure 16). It just disappears into luscious shadow. Place the light with softbox on a 45-degree angle from the model and turn the softbox away from the subject so she is lit only by the edges, where the softest light is. This technique is called feathering the light and provides a supersoft, even light. You will likely have to place a flag between the light and the background (Figure 17) so the light doesn’t spill onto the backdrop, especially if you are using a larger softbox.

Figure 16. The light is soft and gradually falls off into shadow.
50mm lens, ISO 200, f/2, 160 sec.

Equipment:

  • Elinchrom BXRi 500W Strobe
  • Elinchrom 27 x 27-inch Rotalux Softbox
  • Elinchrom Skyport Speed Transmitter
  • Multiboom light stand
  • Black muslin backdrop
  • 42 x 72-inch black reflector used as a flag
Figure 17. The softbox is aimed almost entirely at the background and away from the subject.

originally posted on Model Mayhem
i think one can adapt using these setups using any type of light, so just try them see what happens.
jene

seems i can’t stay out of trouble

April 25, 2013

i’ve not been shooting much these days and sometimes that bothers me. to tell the truth i’ve not found something that interests me. so drawn between the two extremes of not creating or trying to create just never turns out that pleasing. sometimes the magic works but mostly it fizzles nowhere.  one never knows the quality of models posting on craigslist or model mayhem for that matter they are all professional models, or so they say. heck i’ve never said i was a fashion tog, one would never think that looking at my portfolio. maybe in some art director head my look would look good in an upcoming campaign but they won’t be looking for my vision any time soon.

i continue to look around for interesting people to work with as i did with this model contacting her. she was eager to work with me after seeing my portfolio. she set up a date and i thought why not? she had posted a couple interesting pics on her modeling page which i thought i could work. when she showed up here she didn’t bring the stuff i had requested.

i really need to discerning when it comes to my work, but i though well i can make this work. so i had her try on this outfit.

red camisole

red camisole

we took a couple of these which turned out ok. as i said i am not a big fashion photographer but i think it’s nice to have lingerie in ones portfolio. we quickly moved on to this outfit.

amy lo

then on to this

amy lo

i give my models a prop so they have something to do with their hands. hopefully it will inspire them to do something creative with it. below wearing a black scarf.

amy lohere is a multi colored cloth belt

belt

belt

now i move onto the last a red silk cloth which she loved how it felt, who wouldn’t?

_MG_6893

finally winding up here.

_MG_6901

i sent her a copy of the first image retouched a bit because she had what i’d call problem skin, lots of bumps and her answer was could i retouch her face? i said i had already done some and felt doing anymore would be dishonest. she didn’t like that oh well.

but i posted a question on model mayhem retouching forums about retouching a models portfolios for her saying i thought it dishonest. would i have considered working with her because all the facial skin issues? probably not. so i am the ogre here.

oh well

Plea of support from Dance New Amsterdam

April 18, 2013

here is a plea from Dance New Amsterdam’s Martha Chapman. i’ve written & posted here about them before because i believe in them and the work and support they give to the dance community.

Hi Friends & Colleagues!
I am writing to you as a fellow-lover of arts and culture, here in New York City and everywhere! Thanks to good folks like all of you, the arts are appreciated, created, trained for, agonized about, and in general celebrated. Keep it up!

As many of you know, I teach and am on the Board at Dance New Amsterdam, where some of you know me and my classes. Our annual Spring Fundraising Drive is starting up – and I am asking if you would be willing to help us meet our funding goal of $100K this year! It’s ambitious, but we already have donors (including me) who’d pledged almost $30K, and the drive is yet to “officially” start. Let’s keep dancing!

If you can contribute yourself – great! Any and all donations are welcome – www.dnadance.org – click on “DONATE.” AND – there will be some special benefits like tickets to DNA shows for new donors once the funding drive kicks off this coming Thursday. If you’d like to receive this official eblast from DNA, send me a message and I’ll forward the eblast to you. You can sign up for eblasts yourself on the site too.

But…if times are tight and a donation is not possible for you at this time, woud you be willing to reach out to 3 of your connections, asking them to donate? “Crowd-sourcing” is a great way to introduce folks you know to a great place that makes dance and dancers.

AND – if any of you are in New York and can attend, I would love to invite you personally to a terrific event on Thursday, May 16th… DNA’s first annual “Spring Soiree,” to be held at Plein Sud – a swanky hotel down the street from our studios on Chambers St. Come raise a glass to dance and the arts… let me know and I’ll send your contact info to DNA’s offices asking them to send you an invite.

Thank for your attention and for being the fantastic, art-conscious and creative people that you are.

Blessings –
Martha Chapman
marthachapman62@gmail.com

Continuing dance project

March 25, 2013

well every once in a while, maybe i need to rethink my projects and life sooner, maybe change this thinking thing to daily,but  i get to add new skills in my life. photography seems to be down pretty good but  now playing with both still and motion stuff.  i’d like to be able to add slideshows link on here. moving to final cut pro x soon, i’ve the free 30 day download and it’s been pretty cool.

much different than the old days of sitting with stacks of tape cassettes in front of a linear sony editing machine. but both linear or digital editing eat up hours of one’s life. well what doesn’t burn brain cells? just sitting in mobile on the couch eats them up so might well put them to good use. try to create  something beautiful which is what i am doing with this video piece.

so here is the utube ‘mother earth’ opening  sequence here in case the embedded link below doesn’t work.

along with some of the still images here

Mother Earth

Mother Earth opening sequence

mother earth mother earth mother earth mother earth mother earth

it must be that kind of a day since i can’t upload these images on my web site and this upload is a bit weird but hey at least it worked better than Photoshelter today. UGH. maybe it’s time to find another web hosting site. so when i get back to nyc and my other computer i’ll try again. i am doing the best i can is all i can say,  who among us is perfect?

this must be right because i read it in a neswpaper

this must be right because i read it in a newspaper

this adam & eve mother earth is a work in progress and being developed as i write this, this is where we are at so far. looking out my window at grey skys  waiting for another snow storm. mel torme on the cd player……….ah to have a shovel in my hands instead of a camera, that’s what i live for. at least wordpress is here for me. thank you

so this is the news of the day today.

jene

What to do if you drop your camera in the water besides cry: How to perform CPR on a drowned DSLR

March 21, 2013

How to perform CPR on a drowned DSLR

July 01, 2012

Peter Hill, Sydney Australia

Speaking from experience (several times), there’s a few things you can do to help save your treasured DSLR from an early death from drowning. I’m not guaranteeing resuscitation in all cases, because water in your camera’s body is a complete variable, I’m just passing on what I’ve learnt.

As with humans, time is of the essence when trying to save your drowned camera, especially if you are dealing with salt water. (In such an instance, corrosion starts almost immediately.) Primarily though, we are dealing with electronics so the aim of the game is to get the water out and dry your camera ASAP.

So, here’s some tips, in the order in which they should be done, if your DLSR gets seriously wet. Edit: I’ve changed the order of 1-3 to reflect comments from a techie who knows more about this than me.

1. Take the battery out AS FAST AS YOU CAN. Yes, it doesn’t take more than a nanosecond to turn the camera OFF (which is the least you should do), but even after doing so there are still volts inside going where ever the water goes. If the charge meets that moisture, your electronics will be fried. End of story.

2. Take the card out. Simple step, but in the panic immediately following the drowning it’s easily forgotten. I know I have.

3. Don’t stand there wiping the exterior of the camera body. You are wasting valuable time. You need to get to a heat source ASAP.

4. Did you drive to your shoot? Get to the car pronto. Now take the lens off and wipe as much water as you can from inside the camera with your lens cloth or an absorbent cloth if you have one, without damaging the mirror or sensor. Tissues are NOT recommended because they will separate and strands will be left inside the body. Even shaking the body while holding it downwards will help. Turn on your car’s engine, turn the car’s airconditioning on full-bore and HOT, and hold the body up to the vents. Keep it there as you drive home or to your hotel, or get your passenger to do it if you have one. (Drive safe but don’t dawdle.)

5. Think as you drive home. How much rice do you have? You’ll need a good 4kgs, so if necessary buy some on the way home, but don’t stop for a Big Mac or a pie. Get long grain, basmati, jasmine, whatever. Just get the damn rice, ok?

6. When you get home, grab a blow dryer and give the body’s interior a good going over. (The camera’s, not yours.) Full blast. Give it a good 15-30 minutes or at least until you can’t see any more water and your camera body is nice and warm.

7. Ideally, whilst you are doing the blow job, someone else is grabbing a pillow slip and putting all the rice in it. Now find an item of clothing. The thinner the fabric the better. The BEST item to grab is a thermal top or thermal pants or similar.

8. Insert the camera body into a sleeve (or pant). This is to prevent rice grains from getting inside the body. Don’t “wrap” the item of clothing around the body because you want as little as possible coming between the moisture-sucking rice and the body. Now immerse the body in the rice. If the body is in a sleeve, you can leave the rest of the item of clothing hanging out, just make sure the body is immersed in rice.

9. Put the bag on a table next to a fan. This will help keep moisture from hanging around.

10. Leave the body in the bag of rice for as long as possible. Note that I haven’t said you can turn the camera on. That is the hardest bit – resisting the temptation. Give it a week. Seriously.

11. When you finally can’t wait any more and turn the camera back on, do not leave it on. Turn it back off and put it back in the bag of rice even if the camera seems to be working. CPR by rice takes time.

As I said, no guarantees any of the above will save your drowned buddy, but hopefully you can give it at least your best chance to survive. Bear in mind that repairing a drowned DSLR, if possible, can end up costing nearly as much as getting a new one, if not more.

If anyone has other or better tips, please make them known! (Thanks to Biggzie for his technical input – see his comment below.)

For a full list of all my photography guides, tips, and tutorials, go here.

Cheers
Peter Hill


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