Entries in Portrait (18)

So HOW was this one done??? (Before Photoshop!)

Posted on Friday, December 18, 2009 at 06:31PM by Registered Commenterkennethlinge in , , | Comments8 Comments

Today I will do something NEW! I will post an image and NOT tell how it was done until Monday! One of the best exercises a photographer can do is to look at images and try to figure out how the image was done. I'm loving going though some old images these days. This image of MaryLyn is from 1984 and nothing is done to it since, except scanning it. All I will say today is that it is ZERO retouch involved, no Photoshop, not a double exposure :-) Please check back on Monday for the answer, and have a nice week end:-)

PS. Some of you with good memory might remember me telling it in seminars in the 90's?Everybody else feel free to post your answers :-) 

PSS. Monday Dec.21, 2009. The answer to the trivia "How this image was made" is posted under the image:

So the day have come for the answer to this trivia. First of all I want to thank you all for the many great and clever suggestions, posted here, on FB, Twitter and in DM. I think my favorite suggestion has to be Alexandre Argy in Paris, France. He writes: My guess : "you have a very bad lab ! :-p" It's a key to the answer in that comment as you will see as you keep reading.

To the image, Yes it is a sandwich of two slides,  but that don't answer how that partial, bent film strip pattern got in there. 3 images in a sandwich was a great guess. Image number 1( MaryLyn on on the bottom of the image) is taken outside on a hillside with the very last golden light of the day, a little blue sky behind on the top of the image. Shot on Ektachrome 100. Image number 2 was shot in the studio with white clothes on a white background and multiple tungsten spots. Shot on a Nikon F3 and with Ektachrome 160T film. So to the filmstrip mystery, my lab used to buy in the Ektachrome 160T in long rolls like 17 meters? and cut and load them in the length of 36 exposures. Somebody obviously must have let some light in at a point and that way we got some film edge exposed unto the shooting area of the roll for a few frames as in the white image. I was working at The Osmond Studios at the time, and was sure glad it happened on a personal shoot.

Well to an interesting part of the story, this image was never intended and planned, it was shot as two individual images, which I both liked on their own. A couple if years later I was standing at a light table in Norway to order some prints from several slides. Some how by coincidence this to shots ended on top of each other on the light table. WoooW, I liked it lots, took them out of the individual frames, put them on top of each other in a slide frame. ( Sorry, I don't dare to take it apart and scan them individually to show you.)

Yes, a "coincidence" but how many great images haven't come about because of coincidences and accidents? BUT it happened because I was doing something, that is an important part, not just thinking " I should do something!' Thank you all so much for responding, reading, being great friends and photographers, I sure enjoyed this and I'm already planning my next retro, trivia post. Have a great day everyone.

 

Turning good light on ugly wall into nice background!

OK, this blog post is not perfect, like a students shade hitting the model :-) but there is something to learn. First thing I look for is GOOD LIGHT! Then a background. The sun is setting down nicely hitting an ugly wall on the building behind my studio. The wall itself was boring and to much like her skin color and hair. I wanted a more professional look. Solution: Shooting along the wall towards the mountains where I get a majority of a bluish cold background, thanks to the colder color temperature in the shade etc. Blue is good, almost a complimentary color and importantly a receding color. The warm area in the background brings in a little repetition of color which is good. The warm color of the evening sun brings her towards us.

Next step is choosing the right f. stop and lens. I used a 70-200mm f.2.8 and shot at 200mm and f 2.8 to blur the background to the max, focusing on the eyes. I love hunting down last minute sun and use it as a direct light source like in this image. See how I make the sun hit her in about 45 degrees so the light wraps around her face and give her a nice shade to shape the face. In a way I like the shadow hitting the white, which tones down lot's of the bright white. All I done to the file is auto contrast and unsharp mask in Photoshop (Unsharp Mask: Amount 121, Radius 1.2, Threshold 1). Please have a great week end:-) Kenneth

PS. The illustrations underneath was shot today, a different day then the main shot and the sun was not as warm sun. When I did the actual shoot I needed to use the short time of good light to photograph and teach my students. (Photographing People Part 3 class.) by intSOP.

 

Nobody Does it Bestor

Posted on Thursday, November 5, 2009 at 04:27PM by Registered Commenterkennethlinge in , , | Comments1 Comment

 

I promised a few weeks ago to post some images from my super fun shoot with Kurt Bestor. The shoot was done at the Covey Center for the Arts. When Kurt came in, I introduced myself and Kurt said, "I know you, you photographed me back in the mid-eighties! I still have the picture; I like it, but not the clothes I was wearing in it :-)))" We both connected back to the Osmond Studios and the eighties. The Osmond Studios was my first work place in the USA. Kurt has done more then 40 film scores, won an Emmy etc., but what he is most known for is his Christmas Concerts and albums for the last 21 years. I learned something cool from him: He is forty-eleven years old, so now I'm forty-fourteen :-) For more on Kurt Bestor here is a link to his website. and to the article.

On to the photographic part. First the back lighting. What gives both this images a performance feeling is the 650w Fresnel spot on the cover placed straight behind him many rows up. See how it spreads down the seat rows in the wider shot underneath the cover. It's sitting on a very high tripod to create more even distance to the rows and get some of the top of his head. In the image underneath the fresnel spot is more to the right as you can see in the overview .The tungsten fresnel spot gives a nice and warm backlight, to separate him well. Compared to the strobes ( 5500K), the Fresnel is about 3400K. 

Cover shot: Main light and fill light in this shot is Elinchrom strobes. Main light is an the 53" Junior Octa 45 degrees from the right, as close as possible to him with out being in the image, placed right in front of row 1. The fill light is a silver umbrella right behind me up on the stage. Camera Canon EOS 1Ds Mark III 70-200mm 2.8 at 115mm and f 5.6. ISO 400.

In the image underneath it is NO strobes, just the fresnel from behind him to the right, existing light from bulbs, room, etc, then a Vector 3 mill candlelight spot with a diffusion screen slightly from the right of me. Camera Canon EOS 1Ds Mark III. Lens 50mm 1.4 @ 2.8. 1/160sec. handheld to be more free and faster for angles etc. ISO 400.

PS. To learn more about use of Fresnel spot and how it looks see this blog entry.