Entries in Perspective (18)
Canon EOS 1Ds-Mark III with 24-70mm f.2.8L @ 48mm and f.14. 400 ISO.
This was one of the most challenging and fun shoots that I have ever been asked to do as a photographer. Photograph 5 very historic olympic gold medalists in one shot. Between all of them they have won 14 olympic gold medals. Here are their names from the left: Bart Connor, Nadia Comaneci, Dan Jansen, Mike Eruzione and Bonnie Blair. I have posted some good links to learn more about them at the end of this blog post. Since this is a photographic blog, I will mainly focus on how I did the shoot.
Did a job like this make me nervous? (Alll 5 flew into Utah just for this shoot!) Yes, but every shoot does. They were so professional, no phones going off, or phonecalls made, full focus on the shoot.
The shoot took place on the Monday after Thanksgiving. I rented 5 Profoto D1 500 Air lamps to have in addition to all my Elinchroms. We test shot on the Saturday before. I rented extra lamps so I could have 2 lighting set ups ready to go and be max effective. As I usually do when I mix brands of lamps, like in this shot, I use one brand for the lights in front of the subjects and another behind them.
My fill light is an Elinchrom 1000ws bounced of my wall/cealing that is painted in neutral grey. Studios are mostly white but many commercial photographers like black walls. I got the idea of neutral grey from Elinchrom's own studio. The main light is an Elinchrom 600ws in an Elinchrom Octa. The placement of this light is extremly esential in this case, where I need to get an even light across a large area. The key is to use the edge of the light, the lamp is almost pointing away from them; this way I only get about 1/2 an f stop difference from side to side. The first person just gets lit by the very edge, while the person the furthest away gets lit by more of the middle of the lamp. I hope I've explained this well enough. It is an awesome way to light large areas. There is about 1 f stop difference between the fill and the main light. The image underneath shows the back lighting. All three overview shots are thanks to my friend Pete Stott who also assisted on this shoot.
We used two Profoto D1 500 Air's with strip light soft boxes from behind. They needed to be pretty far out on the sides since I used wide angle in many of the shots. Also, I had to be careful to not get light spill from them on the background. In this shot you can see pretty well how the main light almost point away from them.
Canon EOS 1Ds-Mark III with 24-70mm f.2.8L @ 25mm and f.11. 400 ISO.
This is my favorite shot of them all. I also photographed them individually along with Bart and Nadia (married) together (Nadia was the first gymnast to score a perfect 10!). I will post 2 more blog posts one from Bart and Nadia's shoot and one with the 3 skaters.
As you can see in this overview, I'm laying on the floor shooting with the 24-70mm @ 25mm. It is very important to keep the subjects lined up on the same plane. I also have them lean towards me a bit to avoid too much distortion ( see how Bonnie Blair to the right in coming forward in this overview :-) Shooting low and involving the floor gives a cool effect, but it sure takes a studio with a large background which I'm glad I have.
If you are interested in studio photography, then I recommend you follow my studio FB page: InStudio Photographics
Here are some links if you want to read some of their amazing stories:
Bonnie Blair: http://en.wikipedia.org/wiki/Bonnie_Blair
Nadia Comaneci: http://en.wikipedia.org/wiki/Nadia_Comaneci
Bart Connor: http://en.wikipedia.org/wiki/Bart_Conner
Dan Jansen: http://en.wikipedia.org/wiki/Dan_Jansen
Mike Eruzione: http://en.wikipedia.org/wiki/Mike_Eruzione
Bonnie Blair: http://www.imdb.com/name/nm2089667/
Nadia Comaneci: http://www.imdb.com/name/nm0173536/
Bart Connor: http://www.imdb.com/name/nm0175123/
Dan Jansen: http://www.imdb.com/name/nm1139045/
Mike Eruzione: http://www.imdb.com/name/nm0259942/
Welcome to Part 2 in this 4 part series on Photographing in Midday sun, these two images is taken within less then a minute of each other around 2:30 pm on a day where the sun was at the highest (Noon) at 1:15pm. (For Noon info, sunrise etc , see iPhone app Darkness) Hope you enjoy this midday series? This part also have good info on perspective and working with wide angel lenses in people photography.
Before I get into Image number 1 here is the technical info. Canon EOS 1Ds Mark III with a EF 24-105mm f/4L IS USM @47mm and f 5.7 (43mm is normal on a DSLR not 50mm) Time taken 2:33:36 pm so 1 hour and 18 min after the sun was at the highest.
In midday sun tall buildings are great, I picked this silo because of it interesting shape against the sky. As you can see from Illustration # 2, I choose to work right inside the shade, and get lot's of bounce from the sun hitting the ground. The silver reflector creates a great highlight to shape her face. I wanted the shaded area of the silo as background to get a colder color temperature in the background then the reflected light, and found it more peaceful. If I had wanted a more dramatic image I could have back lit her, and used the sunny side. If you have problems with clients reacting to the bright light? then make sure to read Part 4 of this series which have great solutions for that.
In Illustration #2 see how she leans her upper body towards the camera, it is to get less distortion shooting it at 24mm on full frame, if you look at the final image underneath this way of standing have avoided a distorted face and body, if she had stayed straight up she would have gotten very wide hips and a small head with an up the nose look. Try to think camera and subject leveled when you shoot wide angel, if you want the subject to look it's best.
Canon EOS 1Ds Mark III with a EF 24-105mm f/4L IS USM @ 24mm and f5.7 This image is taken at 2:34:19 pm, so less then a minute apart from the closer shot. This is what I like about high quality zooms, being able to quickly get different shots, especially when I'm laying in such an uncomfortable position :-)
I decided to add more light on her face then the rest of the body since I consider her face the most important part of the image, not the clothes. If it had been a fashion image I would have approached it differently, drawn more attention to her clothes and maybe had her look away?
PS. NO retouch done on any of the images :-)
Instructor: Kenneth Linge M.Photog. Cr. CPP. XXV. PFP
Photographing People, part 1 in a three part series, is a fast-paced seminar style class for those looking to take their technique to the next level. It’s about lighting, perspective, color and creativity. Best of all, it’s about the thought process behind solving challenging situations. The class size is small, limited to 15 students, so you are sure to get the personal contact needed to understand the techniques. There will be diplomas for each student at the end of the course. You will learn:
* Outdoor Lighting-reflective, subtractive, diffused, tungsten and other location lighting techniques. Midday sun? No problem!
* Indoor Lighting-effective, powerful and simple set ups.
* Perspective-choose the right lenses and f-stops; a must for top notch photographs.
* Posing-how to do it, avoid it and some options in between.
* Digital Workflow-learn to be efficient so you still have a life. We will demonstrate and have for sale the Photoshop actions that cut our computer time in half without compromising quality.
* Photoshop Actions-your move-in expert.
* Color vs. black and white-how and when to use both.
* Proofing-we’ll demonstrate a digital proofing system that let’s others enjoy viewing large images without risking copyright infringements.
Inspiration-no burn out here, how to get and stay inspired!
* Photo Demonstration with Model-see the techniques put into practice so you will go home technically prepared to ROCK!
The next 10 students to sign up will get a free ticket to the sold out PhotoCamp Utah on Sat. March 20th
To sign up go to http://www.intsop.com
Part 1 US $299, Part 2 Price $299, Part 3 $399, Early sign up discount for all 3 parts by Feb 27th US $899
PS. If you are interested in having a Photographing People class by Kenneth Linge in your city, state or country please contact me: firstname.lastname@example.org. We can do it together!
I think one of the best qualities a photographer can have is to know your own limits at the moment, when it comes to take upon yourself jobs. It's NO limit how far you can go, but is it sometimes better and more right to pass it on? I remember years ago saying no to a job to photograph a lamp catalog. I new somebody else that was really good at that, then I passed it on to him. I got a little % from the other photographer and asked if I could go with him on the shoot to learn and assist. What a great "free" seminar!
Once I said no to an Art Director to do a complicated food shot. I recommended 2 different experts on food photography with kitchens in their studios etc. I said please come back to me when it's anything with people. A week later he gave me a whole clothing line to shoot! Have integrity and it will pay back. One of my proudest moments was when I quit as the drummer in a band because I could see I was the weakest part of the band. I felt good, I saw it, reacted on it myself. The other band members are still among my best friends. PS. And I enjoy playing drums just for fun at home some times :-)
PS.This image was taken in the mid 90's. It's retro time :-) Nikon F3 Titanium, Nikkor 20mm 2.8 No retouch, scanned from original slide.
Midday sun solutions. This image is from a wedding I did in The Canary Islands. The sun is high and it's hard to light them without interfering with what's between them and me. Too bright for my spots etc. A mirror would have been the best "try". My personal rule photographing people outside is: If you can't get good light on them, don't have them look in the camera! Dark eyes looking at you is like an autofocus hitting a white wall, you just keep searching and searching without getting contact.
If I had wanted an image with eye contact, I would have kept the camera frame, but moved them close to me on the right and added some nice light on them, maybe also a diffusion screen over their heads (a California Sunbounce Sun Swatter would been the ideal one, since you can keep it so high and out of your shot). If you know me, you know I love photographing in midday sun, and it is one of the main things I teach.
A second thing about this image: I got low to get more lines, but mostly to get their heads clear of the ocean line to keep it peaceful between them.