Total results: 12 Pages: 1 [ 1] |
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 ID: 256390 Posts: 362 | Date: 2008-09-28 18:54 Just posted 3 pics of Lori. Please let me know what you think. Cheers
Terence |
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 ID: 258287 Posts: 282 | Date: 2008-09-28 19:01 I got them to moderate, she's a beauty |
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 ID: 255444 Posts: 861 | Date: 2008-09-28 19:11 Not the best light for a lady. I would only use this lighting style for dramatic
effect
...  Why do we struggle to paddle upstream while the river is taking us where we need to go? |
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ID: 256390 Posts: 362 | Date: 2008-09-28 19:19 Robert Leonard:
Not the best light for a lady. I would only use this lighting style for dramatic
effect
...
Yup That was the object of it. I will shoot her again in a few days and soften
the light a bit more. Cheers
Terence |
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ID: 256390 Posts: 362 | Date: 2008-09-28 19:21 Melissa Robertson:
I got them to moderate, she's a beauty
Thanks Mellisa I will let her know that. She thinks she is just run of the mill
and is doing this to help me get more experience, but at 5'11" and 135 lbs and
size 4-6 she could do this. Cheers
Terence |
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 ID: 183878 Posts: 1599 | Date: 2008-09-28 19:41 I figured you were going for dramatic. You were using a window? Or was it a bank
of lights? Huge catchlight in the eyes!
I would have preferred a slight bit more detail in the shadows--just enough to
see faintly. The contrast was made possible by the proximity of the light, but
being so close it made skin blemishes stand out as well.If I haven't been there, I'm still planning on going!
If I haven't done it, I've still got time to try! |
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ID: 256390 Posts: 362 | Date: 2008-09-28 19:55 Charles Griffin:
I figured you were going for dramatic. You were using a window? Or was it a bank
of lights? Huge catchlight in the eyes!
I would have preferred a slight bit more detail in the shadows--just enough to
see faintly. The contrast was made possible by the proximity of the light, but
being so close it made skin blemishes stand out as well.
Cheers
Terence |
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ID: 256390 Posts: 362 | Date: 2008-09-28 19:58 Terence Dunn:
[Charles Griffin: ...]
18 x 36 soft box at about 2 foot. I will shoot again in a few days with a low
power setting on the fill with it to the lower left and move the key light
further back. I also may change from the softbox to a 36" shoot through. Cheers
Terence |
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 ID: 182744 Posts: 1920 | Date: 2008-09-28 21:07 What bothers me most is the burn-out. The light saturation is a bit much. The
pink blouse ripples and washes to white in a distracting manner that unbalances
the photo.
I do not quite know what is going on with the hard transistions from red to
yellow-green on the facial shadow lines.
Did the site's compression degrade the quality of your image during upload? Or
did you exceed the ability of your cameras chip to record color and tone
gradations? Another possibility: If this is an edited image, then the saturation
for those colors was set to high.
When you do you reshoot, try a couple of these suggestions:
Light the face and blouse separately. In capturing the shadow effect on the
face, the color in the blouse was washed out. Different cloths absorb and
reflect light differently. Sometimes it is the color of the clothing that gives
you lighting problems. Therefore, to achieve the desired skin tone and preserve
the color of the clothing, two separate lighting units should be considered.
Adjust your light output appropriately and you can still get the light washed
effect with the blouse's original coloring preserved.
I liked that you avoided a problem that many amateurs overlook. Your model looks
close to the background but there is no "convict shadow". Bravo!
When shooting the face, the eyes tell the biggest story. A high-key/low-key
contrast image of the face captures each eye in a different light. The emotion
in each eye can appear different and contradict each other. It invites a tension
that can lure you in to study it. I can see this in your third
image of Lori. In the second image of
Lori, her eye smiles through the shadow, emphasizing a mirth she is keeping
inside.
So, watch how the shadow changes the message from the eye. Use it to tell the
story of your picture.
The style of shot does not suit the model. I keep wondering what it was that you
were looking for in the image. Why that style? Why her for that style?
Were it meant to be a beauty shot the shadows would not have been arranged to
keep a hard, straight chisel to her features.
Were it meant to be an art shot, I would watch the framing of the image and keep
the composition such that the eye follows a natural curve downward from top
left. Or where ever you want the viewers eye to go. Remember, even though it is
a still image, it is being viewed by an audience that moves. Our eyes move
around a picture in certain natural ways. Poor composition makes our eyes either
ignore an image or stare at it in distaste. The movement of our eyes reflects
certain emotions as viewers. Your image should move our eyes so that the message
your photo wants to convey, gets through.
In the three pictures of Lori, no message is getting through to me except
"Portrait Sitting". Would I be wrong to assume that the photo sitting was
arranged as a training session for yourself?
Before she comes back for the follow up shoot, get yourself an apple, carrot,
some raisins and toothpick. Yep.  Make a smiley face on the apple.
Ah...if you have a cuddly doll or teddy bear around someplace, you can use the
fruits to snack on. Otherwise, an apple with carrot for nose and raisins for
eyes make a nice face to practice shadowing on.
You see, practicing with dummies gives you all the time in the world to play
with lighting and angles without worrying about straining the patience f your
model. For more advanced practice, go to a department store and talk to the
manager about giving or selling you an old, unused mannequin. Make certain it is
solid, not blow up, or your girlfriend will have some tough questions for you to
answer.
The point is that you can work on lighting techniques at your leisure by setting
up still life situations. When the model comes, now all you are doing is working
on her emotional presentation because you have the lighting method down pat in
your head. You should only have to make minor adjustments from there to
accommodate skin tone and outfit work.
For my wildlife photography, I am practicing in my back yard all the time. I
continually memorize what settings make what effects at what time of day. I
practice on a leaf, blade of grass or any insect that wanders by. Automatically
adjusting to changing natural light has become no problem for me because of
repetitive practice. Now, when a creature I am assigned to photograph gets
caught in my lens, my fingers automatically scroll to the right settings and I
get the shot.
You want to be able to do this when you have your models present. Use that time
to perfect how your camera sees the model. Use your down time to perfect
lighting on still lifes. Have faith that the universe will unfold as it should  |
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ID: 256390 Posts: 362 | Date: 2008-09-28 21:32 WoW. Great info . Thanks Karl I will use the info. Especial the
Teddy Dears. By son has some 4' tall ones. I will look into the Mannequin for
sure. That was just a hole 5 minuts of shooting as she came by the house sor
somthing else. As you say it was just for Training. As for the red / yellow /
green, I think it is the sites compression. The sigma does very well with
colours. Will have a go at them again tomorrow. Cheers
Terence |
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 ID: 248178 Posts: 1 | Date: 2008-09-28 21:39 I think the post is nice. |
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ID: 255444 Posts: 861 | Date: 2008-09-28 21:43 Leewan Leewan:
I think the post is nice.
Yeah. You can always count on professor Karl to step to the plate. Whenever I
catch his name on the forums, I make a point of seeing what pearls of wisdom he
is sharing.Why do we struggle to paddle upstream while the river is taking us where we need to go? |
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