2.2 Studio Know How - Lighting & Equipment

Light quality is often considered the single most important factor in photography. In a studio their are no rain clouds, bright sunlight or setting suns. The photographer has complete control over the set up. The only limitations are space, equipment, ability and perhaps most of all - imagination.


The Burton studio comes equipped with 4 x Bowens Gemini Esprit 500 compact flash (the 500 indicating the maximum capacity of the light in watts). When used on full power the cycle time is 1.5 seconds and quicker at lower power. A discharge switch ensures that, when moving from higher to lower power settings, follow on shots are not incorrectly exposed.


They all come with a model lamp that can be dialled up or down to show where light and shadows will fall allowing the photographer to set shots up quickly and make creative decisions and adjustments with greater ease. The flash unit can also be used on location.


Here's the light before the use of attachments, showing the dials for model and flash lamp settings.

At the rear of the lamp we can see the switches the beep is very useful as an audio guide to whether all lamps have fired or not. The very necessary lamp with - maintains the power in the lamp but enables it to be switched on off during the shoot for various lighting requirements. E.g. shoots with and without back lighting of a full length body shot lit bottom and top followed by the same shot with light only on the upper body.


The cell enables a very simple, very useful but tricky to explain functionality. Lets explain it in a logical sequence of events. The camera has the trigger, the trigger fires one of the lamps with the corresponding unit. That leaves three lamps to be triggered. Switch on the cell/s and they will synchronise - very important. 

Lights
The two main sources of light are tungsten (red heads) and flash. The tungsten light remains on all of the time, it is constant.  The flash is used to light the subject and only when activated (fired) as described above. To help each flash comes with a modelling light to help set up the subject. The modelling light can indicate where light and shadows may fall.


In the studio, once we are ready for shooting we work with the modeling and flash lights only. Tungsten works on a different wavelength and will give our pictures a yellowish glow (we've all go some of those in our family albums).

Soft Boxes

The main aim of the soft box is to provide 'diffused' light - providing a soft light that provides gentle highlights and soft shadows (no hard edges) and even coverage. Great for product / still life photography.  Allows greater control than an umbrella. This will be my main light source for the portrait shoot. The model's skin tone will absorb some light and I'm expecting to need stronger highlights than a brolly would provide.

This diagram shows the component parts for a soft box. The outer skin (1), steel rods for creating the shape (2), the speed ring (3), inner diffuser and outer diffusers (4&5) and the outer bib (6). The speed ring enables quick attachment and release of the constructed softbox to/from the flash lamp. Some speed rings also enable the softbox's position to be adjusted


Barn Doors
A set of four clips that are used to control the light source - thus attached to the light source. Warning. they get very hot and should only be adjusted with a 'door key'. (remember that Joe). I plan to use these in the Subutteo product shoot.




Umbrella

The brolly. Shown here in an Elinchrom D'lite kit (see what they did there!). Mainly used in portrait photography. The flash is fired in to the umbrella and back on to the subject. This diffuses the light - causing in to bounce around the umbrella before landing back on the subject. The light will flood the subject area providing soft shadows and smaller reflections than the direct light source from a softbox. Another warning Joe - they would melt if used with a continuous light source.

Snoot
Snoots give a very directional circle of light. This will be perfect for the Subutteo shoot where the light will be used to recreate the effect of floodlighting. Great for casting shadows and highlighting specific areas. They can be used to create a spotlight effect on subjects.



Reflector


Usually used to lighten shadows and are more subtle than using additional light sources. When used for very specific applications they enable careful control of shadows e.g. allowing enough light to allow details through but not so much that it distracts. They come in many shape, sizes (and price ranges). Coloured sheeting/card can be used to great effect. This Bowens kit demonstrates the extent of options available.









Lastolite are probably the market leaders in diffusers and reflectors here's an example of their tri-grip reflector in action. They can also be used with stands.

 

Honeycomb
Fitted to a spillkill the two types of honeycomb provide either wide or narrow pools of light. Great for lighting specific areas and creating soft edges.

SpillKills

Help to control light direction (reducing reflected light) and create shadows (less so if close to the subject).

Light Table

The object of product photography is to show details of an object clearly. Lighting an object well brings out details and provides pleasing highlights and contrasts. One method for controlling the lighting of small objects is to use a light table. This table was used in my trial product shoot.

The Gemini Classic 500C features the unique ability to easily integrate with the Bowens Pulsar trigger - a device that sits on the hot shoe of the camera and simultaneously fires the flashlights.


Lightmeter
An essential hand held device that can be used to measure both reflected light (light coming from the subject) and incident light (light falling on the subject but prior to hitting the subjects surface). 
 
The lightmeter will come fitted with a diffuser (the white dome shown here) which is slid back for taking reflected light readings. The meter is then pointed at the subjects surface. The reverse is true for incident readings. The diffuser is closed and the meter placed at the subject's surface and pointed towards the camera. Incident readings provide a good average. I will use incident readings for my portrait and product shoots.


This one is the ever popular Sekonic range the L-358 Flash Meter.

2.5 The Best of Tilt Shift Images

The technique is now often created 'post shoot' with a combination of Photoshop tools (and I dare say other editing photo suites offer the same functionality).

There also 'Tilt Shift' videos, that are 'sped up' to add to the impact.

All Images Courtesy of Smashing Magazine

2.6 Tilt Shift Trial - Photoshop Method

Having observed some images, Jim showed me a couple of his images done using Gaussian blur in Photoshop. So I decided to have a go myself using an old image of Santorini (after perusing a few candidate images).

I'd shot the original image in aperture mode at f22 at 28mm, the widest angle I could get - because the shot was of buildings moving away from me (and I wanted some of the opposite side of the Island in) I wanted maximum depth of field.

Here's the original image, tweaked a little in Lightroom for exposure and 'blacks'.

I then used Lightroom's 'Vibrance' and 'Clarity' (both at 75) to really pump up the colour - which gets it half way to that 'miniature' or 'model' world effect. A large dollop of sharpening was also added as I thought that defined edges would add further to the 'model' look.

The image was then exported to photoshop. Here I used Gaussian blur (1.6) to isolate a central strip of the shot to make it appear 'in focus'. For the background and sky I added more Gaussian blur (4.3) to try and give the village a 3D type effect. And here it is.
 
I then decided to go over to Ros Forest  and saw the following opportunity for a 'Tilt Shift' shot. Now knowing that I need narrow depth of field I shot on aperture mode at f4.0, focusing in the bridge (the central theme). To crop out unwanted areas I had the lens at 44mm (as wide as I could go). Getting a really wide angle increases depth of field and maximises the 3D effect.
 

This one gave me invaluable learning. One of the requirements for creating good 'miniature images' is to get high above the subject - although I stood on a bench it just wasn't high enough. Equally I shot too close to the subject.
This shot required much more Gaussian blur. 7.0 for the background, 5.0 for the foreground and 3.5 for the near centre. It's all a bit too heavy handed. But hey I'm learning (I'll know what to do next time).








Revisited this after some advice from Jim ('ll fix it) via the comments boxes. Got the Gaussian blur up to 15 on the outside down to 2.5 nearer the bridge. Clarity & vibrancy at 75, and upped the Green, Blue & Red channels. I'm quite pleased with it.


Found a tutorial on tiltshiftphotgraphy.net and applied it to the same image - as follows and forsaking all modesty I prefer my own technique - the focus/blur is to parallel for me (the rectangle looks too obvious to me. However, I did use lens blur with this and Gaussian with the other, I much prefer the effects I was getting with lens blur. So, a merge of the two techniques is my way forward. For further info the tutorial suggested using a saturation layer and a curves layer. Whilst I found the saturation useful, I tried a levels layer and preferred it (even though I've clipped some darks and highlights).

Oh no! it's not the same picture. Right lets do it again with the right picture.

2.7.2 Olivo Barbieri

The father of 'Tilt Shift' photography Barbieri is accredited with adapting the method to represent cities and scenes as miniature models. The effects are truly amazing and have created a new genre with an almost cult following. A search of any of the shared image sites will reveal budding 'Barbieri's'.

Barbieri is recognised for his innovative technique creating miniature still photography from actual landscapes by simulating shallow depth of field via the use of tilt-shift lens photography. Barbieri's technique simulates the shallow depth of field effect of macro photography by tilting the lens's angle to the back plane of the camera, which creates a gradual blurring at the top and bottom edges, or left and right edges of the filmed image.

The idea has also been used to create videos that look more like children's TV scenes (see my tilt shift blog for some fascinating videos). Interestingly, some of them 'appear' to recreate actual model scenes that might have been used for epic scenes in pre 2000 Hollywood films. Mostly, we look back at those old films, from a world of CGI capability etc., with almost humour and disbelief that we took them for real.

The converse appears to be true of Tilt Shift images - most people, initially at least, refuse to accept that they are real scenes and continue to believe that they are actually looking at miniature models.

Olivo Barbieri, Biography

Born in 1954 in Italy he is both an artist and photographer of urban environments.

Barbieri has exhibited his work at the Venice Biennale (1993, 1995, 1997), among other international exhibitions, and in galleries and museums throughout Europe, North America, and China. In 1996, the Museum Folkwang in Essen, Germany, devoted a retrospective to his work, which has been collected by museums worldwide. Barbieri has published several books of his work, including Notsofareast (Rome, 2002), Virtual Truths (Milan, 2001), Artificial Illuminations (Washington, D.C., 1998) and Paesaggi ibridi (Milan, 1996).

In an article in October 2008's Digital Camera magazine (thanks Jim, for providing a hard copy), Barbieri simply describes the technique as allowing him "to decide what stays in focus" A simple description for what, any of his images will show, is a very sophisticated eye for the genre. For the famous waterfall image of the Iguazu on the Argentina/Brazil border - just one from the 'Waterfall' collection - was actually created 'post-production' in Photoshop. He used a Fujifilm medium format camera with 180mm f3.2 lens.

He adds to his description be suggesting that with his images "the viewer is forced to read one line at a time" a comparison he makes with reading a book.

Without any technical training, describing himself as 'self-taught' Barbieri admits to studying the history of photography at Bolgna University.

He started exhibiting in 1978 and was influenced by Man Ray and Andy Warhol. The interest in creating 'miniature still life' was, he says, inspired by the work of Gherhard Richter. Barbieri was taking pictures of Italian football stadia when it occurred to him that they could be "transformed to look like models".

"It's very important" say Barbieri "for the cities to look like miniatures" adding that he started the series "because of an interest in philosophy and the philosophy of representation. I'm trying to understand how we perceive with different techniques of seeing. 

Asked about light on one of his images Barbieri reveals with striking honesty that it was about "being in the right place at the right time". He seems more concerned with architecture, its impact on man and re-representation of it. 

Get it while you can - "I believe that I'm coming to the end of this period in my photographic career - after all, I've been working on these images for almost 10 years" then offering respite with "I'm continually discovering new possibilities with my tilt and shift aerial work, so I'm not sure".

Barbieri's commitment to his work is revealed in his top tips;

• I take about 60,000 images and save about 12
• There are no short cuts in pro-photography, you have to put the work in
• Be aware of how to improve, learn from what others are doing

Replacing Awe with Aw
Now for a slide show of his work. As I pondered the images, it occurred to me that all of them are of fairly significant natural or man made constructions. Each of them has the capacity to strike awe in to the observer; New York, Las Vegas, or Rome. Is transforming these places to a miniature, more acceptable scale an attempt remove the 'awe' and replace with 'aw' as in "aw shucks" or "how sweet"?

2.7.4 David Allan Brandt

The moment I clicked on the website - I was moved. Immediately, involuntarily I was moved deep inside my being. Perhaps like nothing since Salgado, Capa or Aget. In fact nothing like since seeing Salgado's images in full glory at the Tate Modern.

I'm a big fan of Edward Hopper and his unique depictions of people and space. These Hopper pictures came rushing in to my mind as soon as I saw Brandt's images.

And now Brandt's

The similarities in the use of colour, texture and shadow are fascinating. Brandt does not quote Hopper as a source of inspiration but the parallels are intriguing.

Brandt's subjects seem vulnerable despite the contrasting settings. We see a bedroom that's looks worn and shabby and the physical expression of despair or scream a cry for help the classic 'lord give me strength position'.

In the next picture the subject is isolated in isolation. barren and bereft almost of colour too. The two pastel colours, occupying the upper two thirds of the frame, by the absence of all else feature strongly - a true less is more composition. In Hopper's images the natural light offers warmth and hope - Brandt's by comparison seem to say 'it is as it is'. The figure standing on the stair adopts a posture of arms to the sides - removing the defensive position of arms in front or folded. Body language is critical in conveying messages (as are facial expressions). This subject says this is my world I am resigned to it, yet the leg posture says I am relaxed and comfortable with myself. The cold of the blue and warmth of the yellow act like yin/yang to balance each other. Hence we do not feel concerned for the subject we admire the soft beauty of it. Even though the figure is small within the space we enjoy the colour and texture. The foreboding doorway concerns us not. Perhaps the placing subject at the top of stairs and towards the edge gives the subject the power of control. She is relaxed, not running away (whether up or down), she is not jumping over the edge, She has choices and is comfortable with them.

Then we have a young girl in what we would take to be an older person room (the furniture, bed covers and lace mat beneath the flowers). So the subject - a young girl - may look out of place. But somehow she doesn't. The rather dejected, helpless pose (slumped shoulders, hands held in a defensive position, feet towards each other) all suggest that she is sheltering in someone elses room. Refuge from a harsher life. She is not entirely comfortable here but is safe (knees apart tell us that she feels safe).  The body language is strong and so Brandt also use the room to tell the story. If the room were occupied by contemporary furniture from say IKEA, then we may find a different story for the body language. Each combine to provide signposts for the story. Here the light is behind her, leaving her in shadow - the opposite of Hopper's pictures.

Finally we have a subject placed smack centre in ostentatious surroundings. The light is behind and to the side of her - but not on her. She is looking way from us with her face in shadow. Not quite comfortable with it all. She leans towards the shadows (ever so slightly) her legs point to the shadows and somewhere to the side and beyond the camera. That's where she wants to be - out of the picture, out of the 'limelight'.

We will see this same spaces occupied in entirely different ways in Brandt's other images.

I've put together  a slide show of Brandt's images, from different portfolios, that depict or contain religious iconography. The Christian cross appears on the wall behind the girl and on the chest of a male. In other the cross is being formed either by people or in the case of the man in the water by the shape of the water filling in the gap between decking and man. There is the use of the 'prayer' handclasp and the classic meditation pose perhaps most often associated with Buddhism and Taoism. Whilst Brand does not make mention of this use of iconography, in his published work it is a recurring, if subconscious, theme.

Biography
David Allan Brandt has created a vast body of work, which includes a surreal series of romantic worldscapes combining people with urban structures and whimsical dreamlike environments. These elegant black & white and color creations along with his fashion work and environmental and studio portraiture make up a series of beautifully designed images that show his artistic versatility. David began his career as a photojournalist, then attended and graduated from Art Center College of Design, while still in college he became staff photographer with EMI Records. He later opened his own studio in Los Angeles which serves as his home base for international travels, producing advertising campaigns for American Airlines, Sony, AT&T, Hennessy, Canon, Mercedes Benz, Microsoft, Estee Lauder, K Swiss, Nokia, Hitachi, Kawasaki, Palm and Visa to name a few. His commercial work along with his personal projects that range from the conventional to the abstract is always a search for using the ordinary to create the extraordinary expression of life and art. His images have won him numerous awards from around the world, including Archive, Communication Arts, Graphis, American Photography, PDN and many more as well as having his work featured in several of these and other books, publications and exhibitions.



Here's another slide show I've put together, this time moving through portrait studio work, to location work and on to, using Brandt's own words, 'conceptual & narrative' images.

Drtikol's work too. We then see the use of colour and emotion before the location shots (ah but are the first few, very well propped studio shots). The emotive shots really stuck a chord with me and have given me a different idea for my portrait theme. I'm getting the sense that I'd like to bring someone in get a few shots of their 'normal' state and then encourage them to liberate their emotions, remove inhibition and see what we get. The idea would work well a 'campaign' to promote greater understanding/diversity in business.

Back to Mr Brandt. The show finishes with reportage style images and finally a departure from the norm and the striking use of colour reminiscent of Martin Parr and his 'Last Resort' images.

2.7.11 Sandy Skoglund

I came across Sandy's work whilst looking for someone else. The use of vibrant colour struck me before the beautifully constructed & surreal imagery. 


Skoglund is classed as a photographer and installation artist. Seeing the complexity of the installations I'm given to thinking that she is primarily a creator of physical imagery (3d) and then captures them visually in a way that represents them in a virtual (2d) world.


This work does not directly impact my proposed work, however, I have included it here to remind me of the importance of colour, lighting and most importantly the painstaking work involved in preparation for creation of truly beautiful images.


It is also included as an example of stunning visual imagery that once articulated has probably lost its essence.


Sandy Skoglund Slideshow
I have arranged the images in order of colour and theme. I have include three different published versions of the same shot from the installation 'Radioactive cats' (1981) moving from lighter to darker. This alters the aspect of the image. for me. entirely.


In the first (lightest image) everyone is radioactive, in the second, the cats have brought radioactivity in to the room and in the third the men have brought radio activity to the cats. 

4.1 My Portrait Theme Choice - CANCELLED

These influences have lead to my portrait theme choice "You Bring It To Life".

The underlying idea is a 'travel advertising' shoot. Using shadows/silhouettes to depict iconic locations e.g. the Eiffel Tower, the Statue of Liberty and safari animals. By introducing people in full colour, in typical holiday regalia, the contrast then supports the tag line "you bring it to life".

What is a Silhouette? - well according to the fountain of all knowledge - Wikipedia "A silhouette is a view of an object or scene consisting of the outline and a featureless interior, with the silhouetted object usually being black. The term was initially applied in the 18th century to portraits or other pictorial representations cut from thin black card". Perfect.


The term has also (from the same source) "....been extended to describe the sight or image of a person, object or scene that is back lit, and appears dark against a lighter background. Double perfect (if a man can say such a thing).


This effect has been used to create a very specific genre of theatre "shadow". Its history can be dated beyond the 13th century in China. Today there are over 20 countries with 'troupes' performing the genre.' Pilobolus' are an American troupe originating from New York City. Following widespread exposure on US TV, they have since appeared around the world, featuring on
the UK's Royal Variety Performance show of 2009.


The following images show how the effect can be created.



Because a silhouette emphasises the outline, the word has also been used in the fields of fashion and fitness to describe the shape of a person's body or the shape created by wearing clothing of a particular style or period.

Because of the limitations of studio space I will need to back light 'small' silhouettes to then projected 'larger' shadows on to a white background.

4.3 Studio photography Set Ups

Fashion Lighting Set-Ups

Digital Photography 1 on 1: Episode 11 from Mark Wallace on Vimeo.

Here's The Set Up Diagrams & Results