Magic reflections

How did I do that? 

 

Photoshop genius?  A spirit? Awesome light setting skills? Smoke?

 

Sometimes you just need to be in the right place in the right time…and keep your eyes open and have your camera handy.

 

Fact is I was just at the right place at the right time. The reflections are actually 100% natural. A late afternoon at my mums place, the sun, filtered through leaves shining in to the living room through a small gap in the window where the marquise didn’t reach. The rays played with the hand blown glass and bounced off the small stone pebbles that covered the bottom. I was there, I moved the bowl back and forth, but it was just in that position that you saw the magic and I could hardly believe what I saw; It looked like smoke dancing on the wall, but it was still and motionless.

 

 

I had it printed and framed and now it hangs in my mums house, on the wall right opposite where the glas bowl is. My mum took a couple of photos of the result and sent me….I like it and am tempted to do one like that for myself as well.

 

Business portraits

 

I will show you how you can take interesting, living and classy business portraits in small and crowded offices on a tight schedule.

You rarely get the time you would like for a business portrait and often you are asked to take the photos on location, where the majority of the staff/owners/directors/consultants are based.

Below you will find company portraits that I took for First Swedish Research and for Intermezzon, in Sweden earlier on this month.

 

 

Intermezzon (Intermezzon is considered one of the world’s leaders in practical measurable skills training.) had together with an advertising agency come up with the guidelines for the photo shoot. Working with performance management and being considered as one of the world’s leaders in their field, they wanted their portraits to stand out, to be warm and welcoming, crisp and personal.

 

 

 

We used their conference room and attached a middle tone grey fabric over the whiteboard. As they preferred a black background I didn’t shine any lights on the background and moved the chair, which I got everyone to sit on for the shoot, further from the fabric.

Imagine the model in the centre of a circle, the backdrop at 12 o’clock and I the photographer at  6 o’clock. At 10 o’clock and at 2 o’clock I put lights (quantum Q-flash Trio) with a warm tinted gel to back light the sides of the models.

 

 

 

At 6 o’clock right next to me, I placed a Hensel  3000 light with a silver reflector, just a little higher than their heads and pointing at their faces at the same time as bouncing light on a sun fire reflector I placed on the lap of the models. This way I got the nice light in their eyes and added warmth.

 

 

 

 

I used a concealer under the eyes and around the nose as well as some matt bronzing powder on the models to add a bit of a healthy sun kissed look instead of the pale wintry look, which is otherwise common in Sweden at this time of the year.

I also put bronzing powder on the hands that were used in the photos.

 

The combination of make up and lights made their eyes clear and sparkly and the skin nice and even. I haven’t done any retouching to these photos at all.

 

 

To pull someone out of a busy deadline or a crucial discusion for a photo shoot is not always popular and it can take a bit of wit to change the energy and facial expression from busy concentrated, even pissed off, to a relaxed spontaneous and welcoming look. A good tip is to get the model to remember and talk about something that makes them smile; could be a holiday, something naughty they did as a child, get them to talk about their children if they have any; anything to move their thoughts away from their mood.

 

 

 

I normally get my models involved in the shoot and show them what it look’s like on the back of the camera (or on my computer if I shoot tethered). I get them to move and try different angles, poses and expressions and show them what it looks like. That way they feel part of the process, in control of the result and relax easier. Remember that people in general are vain and want to look their best…if you can show them a photo where they look good it gives them more confidence to continue and experiment with different expressions and poses…till you get it right.

 

 

These photos are to be used for their new website. The idea is to have 3 photos with 3 different expressions of each person so that when you move your mouse over the image or click on it will change expression….I like that concept.

 

 

 

Here I have picked one photo of each person. It’s just to give you an idée of how you can vary and personalise headshots….and don’t be afraid to use hands in head shots. Just remember to shoot while they move their hands as it easily can look stiff and frozen other wise.

 

 

 

 

This next shoot I did for FSR (First Swedish Research), an FX Trading company that despite the crisis does really well and has been awarded Super Company of the year for the last 2 years.

 

My youngest sister Cecilia (above) works at FSR as a trader and also helped to organize this shoot. We have worked together many times before; with her in front of the camera as a model or a stylist and me as a photographer or make up artist. She changed career a couple of years ago, but still does some modelling on the side.

 

 

A part from portraits they wanted a bunch of image-shots for their website as well. It was decided in the last minute, not well organized and with a small, not the best-looking and very crowded office to use.

 

As my sister and I got very organized and the people at FSR were very helpful and understanding with the mess we made, we still managed to take 9 different types of image-photos and 25 portraits in just 7 hours.

 

Here are 6 of the 25 portraits…just to give you an idea. Also theese are totally un-retouched.

 

 

I used 4 different lights and the frosted glass wall that’s behind them. I will show you how I set it all up.

 

 

 

 

 

 

 

 

 

Don’t let small and crowded places scare you. Try to look at the place in small sections and see what angles you can be useful and remember that the smallar the place and the whiter the roof and walls, the more the light bounces. Use lights on low effect when you want to show something on a computer or TV. Hope you have found some inspiration for future business portraits.

 

 

 

 

 

Make up and Light

Make up for photographers

 

Something that many amateur photographers miss, is that make up can make or break a photo. The skill of the make up artist is of course important however, the right direction and communication is crucial to manifest your vision and get the result you want.

There are some things that you as a photographer should know about light and make up. How different types of lotions, oils, foundations and powders give totally different results in different lights and angles and on different types of skin.

I will post an other article on how to get your vision across, direct teams and understand and interpret the vision of your clients…for now I will stick to  make up and light

 

 

 

Tide line means the contrast on the neck or jaw line as a result of badly applied foundation in a contrasting colour to the skin tone.

 

Make up offers endless creative possibilities. Get out and get inspired! (or stay in and flick through a magazine, a book , watch a film or browse the internet)

 

Yes that’s right, it’s useful even for photographers to have a beauty bag with the most important items. It can easily happen that your make up artist or stylist has forgot something. It’s not fun if chipped black nail polish, a shiny forehead or a badly fitted dress should ruin your shot…when it easily can be avoided. *Chicken fillets means silicon shaped as chicken fillets, to fill out a bra or top if needed. Mainly used for catalogue photos where you use skinny flat-breasted models for clothes that are made for curvier women.

 

Only apply body lotion or oil to your model if you can do it in a non-sexual way. You want to use the same approach as you would when putting sun block on your child: effective, even non sexual and totally comfortable with his/her nudity. Make sure to bend fingers and legs, arms and feet to get the make up, oil or lotion also in the creases of the elbows, knuckles, knees and heals.

To apply powder on the face, light brush strokes (tap the brush first to get rid of excess) in an outward motion from the eyebrow centre. This is to avoid brushing agains the small hairs on the face.

Highlighter is best applied to the collarbones, neck and shoulders…any part that you want to stand out a bit extra and reflect some more light

 

In practice

Here I have used 3 different light set ups and 3 different types of make up. The photos on the right are taken with the light from the left and the photos on the left are taken with the light shining straight on to the top of the hand. Here you can easily see the difference between different make ups  in different lights and with the light comming from different angles. Remember that different body parts respond different as well; ex. a oil might look good on the legs but terrible on the face. Power might work wonders on a shiny forhead but look like a joke on a hairy chest. Highlighter on the collarbones might look stunning but applied to the nose you the model might look like Rudolfs sister.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Easy studio lighting at home

If you don’t have a big space to turn in to a photo studio…it’s ok; hardly any photographer starts out with a big professional fully kitted studio. Actually, it can be beneficial to no have all the gear and facilities from the beginning…you get to improvise, be inventive and learn to adapt your lights, set up and poses to the present conditions.

 

Here’s an example of a simple studio set up taken in a home environment. Silvia, a dance teacher and performer showed up at my home in Milan (I haven’t got my own photo studio here yet) desperate to get some photos for her Burlesque classes that were about to start soon. As I was busy with other things I could only give her an hour, I had to find an easy light solution that would do the trick.

I decided to use my Quuantum trio flashes with battery packs and wireless control. http://www.qtm.com/ They are small, easy to place, powerful and fast…with numerous light shaping possibilities. I have had them for less then a year and I just keep appreciating them more and more and finding new ways to use them all the time.  I worked with the standard round diffuser with filters (one red and one blue) on two flash heads and a small square soft box on a third flash.

If you have other flashes you could buy gels and attach them on to your flash to get the same effect.

 

I used the Manfrotto Event Kit  ( DIY03KIT) but in a slightly different way from what it is intended. I added a Manfrotto heavy duty flex arm ( 237 HD ) to the reflector holder (which can hold up to a 122cm diameter reflector) , which is included in the event kit; to add some hight. I used a  sunfire reflector from Lastolite

The left flash was supplied with a deep blue filter (part of the quuntum filter kit)  and clamped on to a chair with the Manfrotto spring clamp with flash shoe ( 175F ) pointing at the reflector.The spring clamp has become a favourite; it’s ideal for photographing small spaces and interiors where a normal light support would be in the way. You can clamp in on to curtain rods, tables, doors, trees, windows etc.

The middle light is fitted on to an  Manfrotto 233B bracket with the 026 swivel that can rotate and move  the flash unit away up to 45 cm, which in turn is fitted on a Manfrotto black alu air cushioned mini compact stand (can be bought separate or in a 3 pack).

I used the quuantum foldable softbox for the midle light, without any coloured filters or gels.

For my third light I used my Gitzo ocean traveller with a mounted Manfrotto project/monitor holder 183, which I fitted a red light to. I pointed it through the frosted glass which made the light more pink in the tone.

I moved the middle light from right to the left depending on the pose of the model, making sure that it was always pointing at her face.

Reflecting light

 

Using reflectors in your photography

 

*A reflector is something that reflects light; a surface that the light bounces off.

Shiny, blank, metallic and light coloured surfaces reflect the most amounts of lights…like aluminium foil for instance or a mirror.

Dark colours and matt surfaces absorb light and have the opposite effect to a reflector…like black velvet.

*When light rays hit a perfectly flat surface at an angle of 45 degrees it also bounces from the surface at an angle of 45 degrees.

 

 

 

Examples of commonly occurring reflectors

 

In nature:

• Water
• Light coloured stone
• Meadows
• Deserts

 

*The more intense the light is, the stronger the reflection

 

Man made reflectors you could easily find:

• Any surface that is light coloured
• Shiny and glossy materials
• White and metallic coloured fabrics
• Metal
• Trucks and cars in light or shiny colours
• Fridge doors
• Buildings with glass facades or with a light and shiny surface
• Ponds and fountains
• Aluminium foil
• Pots and pans
• Mirrors
• Shiny tiles
• Taps
• Glass

 

 

“Man made reflectors can be bought in a photo shop or online. Try Lasolite www.lastolite.com a reputable and reliable brand with a big range of good quality reflectors in all sorts of sizes shapes and with many different reflective colours.”

 

You could also use any shiny surface you can find…but it’s a lot harder when they are fixed, to rigid or to soft.

 

 

Working with natural (with the sun as the only light source) and man made reflectors

 

*Sun light have different temperatures depending on the time of the day, what type of light shapers are between the camera and the sun…will talk about colour temperatures in another post.

For more info on light shapers, how to understand and use natural light:

 

Here are some examples:

 

 

 

 

 

 

 

 

Understanding and working with natural light

 

Using sunlight with natural and artificial light shapers.

 

 

•Look, and plan for the best light rather than the most beautiful location…good/beautiful/interesting light is crucial to get great photos

 

•Nature produces infinite possibilities of lighting situations, learn how to take advantage of that

 

•Where to find and how to use commonly occurring light shapers.

 

 

*A light shaper or filter is that which goes between the light source and the camera; in this case the sun…and changes the intensity, direction, shape, pattern, softness, hardness and colour temperature of the light… and in particular the shadows it throws.

 

Examples of naturally occurring light shapers and filters are

 

Produced by nature:

•Clouds

•Foliage, trees, branches

•Caves

•Mountains and rocks

•Spider webs

•Fog

•Mist

 

 

 

Man made:

•Windows

•Ports, gates, doors

•Bridges

•Buildings

•Garages

•Roofs

•Smog

 

“And of course there are hundreds of different light shapers made especially for photography: that you can buy or make your self…but I save that lesson for another day. “

 

 

With a bit of planning you could get photos taken in natural light (the sun as only light source) with a “studio feel” to them; that look as they were taken using professional lights.

 

 

Once you understand the naturally occurring lighting conditions around you…and learn how to use them to your advantage, it will be much easier to move on to working with man made light sources… like flash and continuous lights.

 

I will show you some examples: