Not Keeping Up

Model Kat Gulling

I've missed doing a blog post the last few weeks.  That's what happens when you do lots of photoshoots and make commitments to turn the photos around quickly.  Bottomline, something has to give.  And hey, my employer would frown on me if I decided to do photo processing or blog posting during the business day....

 

Anyway, what have I been doing you say.  Why, thanks for asking.  I've decided to move from a PC based platform over to the world of Macs.  Yes, some might say I've gone to the darkside, but with as much horsepower that all the Adobe products required I decided to upgrade and go to a MacBook Pro with Retina Display.  It's taking me some time to get everything up and going.

 

Also I've been doing quite a few model shoots.   These have either been portfolio shoots or lighting tests.  Every one of the shoots was a great time with some really skilled models, MUA & hair stylist.  I promise I'll write a blog post or two this month and then get back on pace.  Anyway here are some sneak peaks of photos from some of the sessions!

 

Lighting test with Anna Reed

Session with Model April Berry

Photoshoot with model Kristen Grable

Portfolio shoot for model / dancer Caroline Nauth

 

Model Cecilia Hernandez of BMG Models Chicago

 

 

Selling Glass - Need To Decide

Hello, my name is Steve and I have a problem.   What problem is that you ask?  I have too much glass.  Yep, that's right I have too many lenses I don't use.  Normally, this isn't a problem, but let's face it, basically this is just tied up $$$ sitting on my kit shelf.  I think it's time to bite the bullet and sell some of my excess and not used lenses.

Over the past year, and more recently since I moved primarily to a full frame DSLR I am using my AF-S Nikkor 50mm f/1.4G, my AF-S Nikkor 24-70mm f/2.8G & my AF-S Nikkor 70-200mm f/2.8G VR-II almost exclusively.  I might use my wide angle zoom lens with my crop sensor for landscape, but other lens...not so sure.

So now I have to decide if I sell my Tamron 70-200mm f/2.8 VR (easy decision since this is a duplicate), my 35mm DX (probably since it's a DX), my 60mm Macro (don't use it), etc., etc. 

You know, I'm looking at that new tasty FujiFilm X100s, so maybe by selling some of my unused lenses I can get enough $$$ to put one on order.  Decisions, decision....

Test Shoot With Cecilia Hernandez

Had a chance to do a test shoot with local model Cecilia Hernandez.  I had followed her work for a while and knew she was top notch.  So this was a good chance to work with an experienced model & work on various lighting effects.  The plan was to a lighting test and then hire her for a more formal session.  More on this later.  Since this was a test shoot no MUA or hair stylist was hired.  No problems, Cecilia came prepared.

The setup was straight forward & consistent with what I’ve been recently doing, except for this shot I used a second light and used a different key light.  This was all possible because I had recently purchased several new modifiers, a new Manfrotto Super Boom and several other pieces of kit from B&H Camera.  Yummy.

 

My key light for this shoot was modified with a new Elinchrom Octabox Midi53”.  Recently I’ve been shooting these types of images with an Elinchrom 27” Softlight beauty dish reflector, but for this shoot I wanted to try a softer light.  Also, like I said, I just purchased it, so I MUST USE.  Also, instead of using an Elinchrom D-Lite it 4 as a key light I used my newly purchased Elinchrom Style RX1200 studio light.  This was mounted on a new Manfrotto Super Boom.  The boom is huge and allows much more flexibility to move the light in & out as the boom is longer, the base is wider and the head moves in 2 directions with cranks at the end.  Yummy deux.  I have to tell you though; setting up this lighting rig the first time was a pain.  It’s a real ballet to get everything together because it’s awkward and heavy.  The Octabox takes some getting used to setting up.

As my second light I used an Elinchrom D-Lite 4 with an 8” reflector and a 20 degree grid.  I wanted to use this to throw a soft light on the background.  Starting off this light was mounted camera left.  I planned to move this around during the shoot.

I set the key light about 72” high aimed at Cecilia’s midriff.  She is about 6’2” in heals so I find at a 68-72” height this works best.  Light was moved both camera left and camera right.  I shot against a fashion grey seamless made by Savage.

 

Camera settings were ISO 125, 1/160 & f/9-11.  I used my Nikon D600 with an AF-S Nikkor 50mm f/1.4G.  Since there was no makeup and I set up the day before we got started soon after she arrived.

As expected Cecilia was great.  She had very solid posing skills and knows how to work with a photographer and lights.  She needed very little directions so it gave me more time to just watch the movements and fire away at the right time.  After every shot she changed poses (unless I asked her to hold a pose).  What I like about Cecilia is that she has very strong / angular features.  This allowed for very nice breaks between shadows if I wanted it. 

 

Because we were moving along so well I even had a chance to switch out the key light with a different modifier.  After I worked with the Octabox for a few sets I switched to an Elinchrom Rotalux 20x51” softbox as the diffuser.   This strip diffuser was put on the Elinchrom RX1200 and placed high over my model aimed down.  The plan was to simply see what effect I could get versus the round diffuser.  It was fun to experiment.

One of the nice things about this shoot is that I had a second model join us for this lighting test.  Laine Lindsey had also joined us.  I was able to allow Laine and Cecilia to take turns during the shoot.  This allowed me to work with both models, neither who I’ve worked with previously and get different looks.  I’ll write a separate post about shooting with Laine later.  Bottomline, I felt I had a good session and we got some really nice shots. 

 

It was enjoyable to work with 2 skilled models while experimenting with new equipment.  I had a general idea in mind what I wanted to accomplish but no hard-defined lighting plans.  I think it worked well and gave me a basis for later refinement.  Oh, BTW the week after the test shoot Cecilia got signed by BMG.  Although this meant I wouldn’t be able to use her again unless I went through the agency I thought it was great news.

After action report:

• Do test shoots with new models.  I hadn’t worked with either model before so this was an experiment not only with lighting, but also with using models I hadn’t worked with before.   I normally don’t do TFP shoots, but in this case I did.
• Try new effects.  I had been using the same lighting setup for about 5 previous shoots and really like it, but it was enjoyable just trying new setups. 
• Make sure the models have a place to set up and get changed.  I had recently moved into a new studio and haven’t figured out the best place to let the models get ready.  I need to work on this.
• If using new equipment set up early or the day before.  It took me about 2-3 hours to figure out how to set up all the new softboxes and get everything figured out
• Remember, if this is a TFP, you MUST quickly follow-up with the model with copies of photos you promised.  I always try to do this.

Photoshoot with Katherine Gulling

Tight portrait using an Alien Bee ABR800 ring light

I've wanted to photograph Kat Gulling for awhile.  I met her about a 9 months ago during a Creative Meetup in Indianapolis.  We agreed to shoot together sometime, but it wasn't until recently that we were able to get together.  It was worth the wait.  She's got skills and a unique look.  I was helped on this shoot with MUA Mandi Lucas, Hair by Jennifer Odom, fashion & jewelry by Jantina Anderson.  We had a good time and used about every inch of the studio during our 4 hours shoot.  Watch for a detailed blog post with details of the lighting and settings used.

Guess What, Another Photoshoot with Caroline Nauth

This shoot was an opportunity to do a B&W model shoot with Los Angeles based fashion photographer, Bill Jones (Tumblr & Model Mayhem).  Bill once again agreed to work with us while he was in town.  This session was a bit different because I also got to shoot with my two studio colleagues which is always fun

The model for this shoot was Carolyn Nauth. I hired Carolyn once again because this shoot was all about photographing the model while she constantly moved and presented expressive poses & expressions.  Carolyn is strong in this style.  MUA Jacks Von Liria was brought in to do both MU and hair. Both were good choices.

 

Caroline & Jacks chatting while getting ready

To get the shadows and contrasts desired I relied on a single light. The key light was an Elinchrom D-lite 4 with an Elinchrom 27" Softlight beauty dish reflector with a diffuser sock.  The light was set up on a standard Manfrotto boom light stand. Remember, whenever using a rig like this use proper counterbalance and sandbags. I moved the light around during the shoot but started with the light set camera right approximately 68" high from the bottom of the beauty dish. The light was aimed at Caroline's midriff approximately 3' away.  We photographed against a Savage seamless fashion grey sweep.  You may note that I've shot with this lighting setup several times before and have always been happy with the output.  The setup is simply and the contrasts are strong on the model but soft on the backdrop. 

Caroline getting directions from Bill Jones

I used my go to full frame Nikon D600 with both an AF-S Nikkor 50mm f/1.4G and my AF-S Nikkor 70-200mm f/2.8G-ED VRII. I ended up using the 50mm the most.  Camera was set at ISO 125, 1/125 & f/11. I used my Sekonic L-358 FlashMeter light meter to get the correct light power for my desired camera settings.

Once started Caroline took queues from both the photographer but also from Bill on how to pose and move. Note, Bill gave advice and chatted us up, but didn't shoot.  The result was a silky smooth flow of motion. Throughout, I tried to time my shots to the peaks of Caroline's moves, dramatic poses, tension & hair flowing. It was great.

 

Since we were trading off shooting between myself, Paul and Eric it took about 2 hours. The benefit of this setup was to look at photos everyone was taking. It's interesting to see how different photographers get different looks with the same model and lighting. 

Overall, it was a learning experience since I got to watch others shoot and take in Bill's tips directing Caroline. Also, I am happy with the results.

Critiqued On TWIP

Wow, This Week in Photos (TWIP) is a well known photo related podcast hosted by Fredrick Van Johnson.  The theme of the show is to bring on 2-3 well know photographers and talk about all thing photography.  TWIP also has an active presence on social media primarily Google+ where they have an active community and do hangouts.

 

Well as part of their 300th show, "This is Sparta", they are starting a new segment.  The segment is a photo critique.  They pick one or two photos posted on their community on Google+ and they have at it.  Click on the link to listen to the show.  The critique starts at the 54th minute.

 

Surprisingly my image of model Peyton Drew was the first image the show critiqued.  I was stunned, but really appreciated their comments.  Obviously, everyone looks at an image differently and from a different perspective, but overall got thumbs up on the photo.

 

Check it out!

 

 

Tim Burton Style

Something a bit different.  During a Creative Meet-up I was chatting with a model friend, Caroline Nauth. She said she was interested in doing something Tim Burton-like.  That’s like dangling a piece of string in front of a cat, I jumped at the idea.  First, I wanted to do something different versus the fashion-type portraits I’ve been focusing on, and secondly it was an opportunity to play with different lighting / location moods.

I lined up a MUA after we agreed to work together.  I used Sasha Star because she’s good with these types of concepts.  You’ll note from my earlier posts I use Sasha often.  I talked / emailed / FB’d both Sasha and Caroline over the course of a couple of weeks to lock down the clothes, mood, makeup, etc., etc. We locked down a date and off we went.

On shoot day it was interesting because I allowed another photographer, Mike Arledge, to use the studio in exchange for watching him shoot.  Mike has a nice style, so I wanted to pick up a few tips.  Guess what, he had arranged to use Caroline for his shoot as well.  That made things easy.  After Mike’s shoot was over, Sasha arrived and we got to work turning Caroline into a full-on Tim Burton freak. 

Half the fun was just watching Sasha and Caroline work while chatting them up.  I also brought one of my old school Polaroid cameras, so I took a few shots with an expired pack of instant film.  Instagram old school!  Also, while they were working I set the studio up for my shoot.

I planned 2 locations and 2 lighting setups for the shoot.  The 1^st shoot was in the studio, and the second in an industrial part of the building where the studio is located. For the studio shoot, the lighting was straight up.  Like recent shoots I simply used 1 light.  I set up an Elinchrom D-Lite 4 with an Elinchrom 27” beauty dish reflector.  This was shot against a fashion grey seamless sweep.

I used my Nikon D600 with a AF-SNikkor 50mm f/1.4G lens.  I set my speed at 1/160, ISO at 200 and used my Sekonic light meter to adjust the D-Lite power so I could get f/8.  Straight forward.  I set the light at approximately 70” camera right (to start) aiming at Caroline’s midsection.

Makeup on, Tim Burton styled clothes picked out and on, so off we went.  I took about 30 minutes worth of photos against the grey sweep.  During the shoot I moved the light constantly from camera right to camera left and adjusted the height and direction multiple times.  The goal was to get very interesting shadows.  After about 30 minutes we finished with this portion of the shoot.

Next we moved to an abandoned space next to the studio.  The space used to be a garage for the original company that used to be in the building.  Very gritty.  For this part of the shoot I used a second Elinchrom D-Lite 4, but added a simple reflector with a 30 degree grid.  This allowed me to put a focused beam of diffused light on Caroline and get some mystery.  I controlled the amount of light falling on Caroline by moving the light forward or back and increasing or decreasing the power.  Worked great. 

In the space there is an old circuit breaker box so we started there.  Got lots of fun shots, asking Caroline to move constantly.  The goal was to get lots of edge on the photos.  After about 15 minutes I moved Caroline against an oil stained wall and again asked her to move.  This time I also asked her to crouch down and slink around.  Even though the floor was a mess she was a real trooper.  During this time I moved the light all around and at all heights.  

Camera settings for this portion were adjusted to open up the aperture to f/7.1 and the speed to 1/160.  ISO remained at 200.  Also I switched to my AF-S Nikkor 24-70mmf/2.8G lens so I could get a bit wider.

After about another 15 minutes we were done.  Overall the shoot including MU took about 3 hours, and we all had a blast. 

After action: 

• Scout your locations out before hand.  I did this for the industrial portion of the shoot so I knew exactly where I wanted to position Caroline.  When you are paying a model it’s best to spend your time shooting versus looking at your shoot location.

• If you have a Polaroid, bring it.  So much fun.

• Do something different.  As I mentioned earlier I have been on a fashion bender for about 6 months. Doing something completely different while at the same time using lighting techniques I was comfortable with made for a unique shoot.

• Be mindful of everyone’s time.  I knew Caroline had to boogie at a set time, and if I hadn’t been watching the time we would have been there for a couple of hours longer since I was having fun. 

• Experiment.  I had absolutely no idea if the theme was going to be pulled off, but we did it anyway and I think we hit it.