HOLLYWOOD STYLE USING LIGHT ON LIGHT TECHNIQUE

It is said that using current available studio flash strobes you cannot achieve the style of lighting redolent of the classic Hollywood pictures produced in the 1940s and 1950s, except perhaps using the Fresnel type which gives the more contrasting variation between light and shadow typical of the continuous lights available to photographers in these eras.

So, not having the Fresnel available I worked on using a technique called a light on a light in a portrait setting. Basically this is using a hard edged reflector on one strobe as the key light positioned to light only the head and shoulders of the subject and in the same position straight behind it so close that the two could be touching, a strobe fitted with a much larger softbox set at one to two stops less than the key light. The aim is that we have a clear hard edge to the light around the head and shoulders with a tapering spread caused by the larger softbox. The image below is what I got using this method.

The key light was an 18inch, beauty dish with a grid fitted to focus the light and covered only the head and shoulders. The light behind it was fitted with a 4feet x 4 feet softbox. Initially the key was metered at an aperture of f9 (at 1/125 sec shutter speed, below the sync speed of the camera) and the softbox metered separately at f5.6. When set the resultant combination was metered at f10. The image was converted to black and white in Photoshop and some very slight softening applied

The model was Jasmine Sirs and the photo taken at our Bakehouse Hill Studio in Darlington, UK.

USING FREEZE AND BLUR TECHNIQUE IN FASHION PHOTOGRAPHY

Not a new technique but an interesting application applied to a fashion themed shoot that I have worked on recently. The technique is based on the principle of shooting with flash but with a long shutter speed of say 5 seconds where the flash freezes the first frame and then slowly captures subsequent movement by the model blurred by the long exposure time.

If done in a studio it will require a daylight studio, as we have at our Bakehouse Hill Studio in Darlington, UK, or some alternative continuous lighting source as well as the flash strobes.

There are two methods I have used: set up the model’s position, choose a slow shutter speed, probably between one and five seconds, and take an ambient light reading that gives you the appropriate aperture setting for the ambient light. Set up the flash strobes to light your shot at a setting to match the aperture measured for the ambient light. When you shoot, the initial flash will freeze the model and the slow shutter speed will then continue to record any subsequent movement. You will need to work out beforehand where you want the model to move to, and probably rehearse a bit to get it right. Getting the time right can be quite crucial as the subsequent movement can come out too blurred if it is too slow or too concise if too fast. Trial and error will be needed.

The second method is to take two shots, one a static shot of the model in the initial position using a flash strobe, then a second shot using only ambient light at a slow shutter speed as described in the first method to record the blurred movement, and then combine and blend in Photoshop. This method gives a different picture to start with but affords better creative opportunities through blending multiple images.

below is one created using the multiple shots method together with the initial "freezed"

shot and some of the blurred movement shots.

This and other examples can be seen at here

Initial Shot

Blurred Movement 1

Blurred Movement 2

Blurred Movement 3

CATWALK SHOWS - TIPS FOR MODELS AND PHOTOGRAPHERS

Nothing worth having comes easy and that is true for the challenges faced by the fashion catwalk model and photographer – fast moving requiring split second captioning from both.

We offer catwalk training for photographers and models at our studio in Darlington and having done a good few shows now I have to take my hat off to the experienced model. Yes they need to be able to walk down a catwalk at just the optimum pace and with a certain style, but first, and not to be at all under-rated, is the ability to know the garment and how to wear it, how it hangs and how to show it off. We stress that this should be the first priority for the model during fittings and rehearsals - get a feel for the garment, how does it hang, is there a tendency for a shoulder to slip, how are the sleeves, etc. Once mastered then when on the catwalk they can then concentrate on their walk.

On to the catwalk show itself common failings from the less experienced models on a catwalk are (1) walking too fast (2) looking down (3) as a consequence bending slightly forward (4) placing feet showing soles up and (5) arms swinging too much. Get these tested during rehearsals and organisers will be seeking

·       Back held straight with a slight upward tilt of the head

·       Eyes looking straight ahead

·       Feet placed forward

·       Arms down by your side with only slight movement

·       Walk at a speed to a beat of music but so the audience can have sufficient time to take in the style of the garments being worn

As with all things, the key is practice and to use the rehearsal to gain some confidence. Once you have confidence it comes easy.

There is no lesser challenge for the photographer. Often lighting is a challenge as you can see in these pictures – the big shows may have purpose built lighting, but at many venues we have to do with what is available, tungsten lighting, dimly lit and sometimes in many colours. With its fast moving nature capturing the model requires, (1) knowing your camera and (2) having quick reflexes.

TIPS FOR PHOTOGRAPHERS

·       Stream line your gear – it can be crowded or in a cramped space. Camera and a couple of lenses (or a single wide range zoom lens) a flash and a mono-pod would be the order of things.

·       Take backstage preparation shots to capture the backstage atmosphere. Usually need a wide angled lens

·       Work on lens settings of around 1/250^th of a second at f4.0 and set ISO accordingly to achieve this, often at 400

·       Preferably take pictures in RAW form so that the white balance can be set in post-production, but if not check out the type of lighting. Often a tungsten setting works or at a temperature of about 3200k.

·       Autofocus tracking and continuous shooting is the most automated method of shooting and works well if your camera’s AF can keep up with the models as they strut down the catwalk. Single-shot AF gives you more control so you can decide exactly when to trigger the shutter. Manual focus is possible: pre-focus on a specific spot on the runway; trigger the shutter when the model walks into your frame; repeat quickly.

·       Center-weighted metering tends to work well, especially if the background is either very dark or very light since wide or multi-area metering can be easily fooled. In some situations, you can underexpose just slightly to drop the background into black, eliminate the audience and create a dramatic shot.

·       Look to get three shots: full-length, half-length and head and shoulders/close-up – these appear as the model walks down the runway with a full-length opportunity at the far end or start of the walk.

·       Pay attention to detail in garments for anything unusual and don’t forget the backs, so a shot as the model walks away should not be missed out.

POLE DANCING FOR MODELS

A model needs a number of attributes – appearance, costume and clothing, good hair styling and make up, discipline and dedication – all of which are valuable, but there seems to be something else that makes just that difference. It is what I would call “graceful agility” or “animation.” It may be sub-conscious but it shows in the facial and body postures and their ability to manipulate their appearance.

Now I like to work things out – what is it that gives a model this ability? Well, I may have found something to answer this question. Of the models I know there appears to be a link to a history of performing in some way, either in acting or dancing on stage, or in sport or gymnastics, perhaps only in their childhood and only in a minor way, but nevertheless they have developed their natural ability to “exhibit” in a controlled way.

So, it brings me to what a model can do about it. A colleague with whom I share our photography studio in Darlington, who is a model and a burlesque dancer, runs pole-dancing classes there and with her help I have looked at what pole dancing exercise could bring.

I expect there will be people who would have a snigger at the mention of pole-dancing. Up to just a few years ago pole-dancing mainly took place in strip clubs. But the image is changing and promoters of pole dance fitness competitions are promoting it as a legitimate form of dance and fitness. I am told that a good session on the pole can burn more calories than a good session in the gym, and will certainly provide more muscle tone.

Pole-dancing is now recognized and accepted as a form of performing art, a combination of dance and gymnastics involving acrobatic and aerobic movements around a vertical pole. There is already a growth of studios for the amateur and in addition a wide range of amateur and professional competitions are held now.

Without going into technical details such as what are inversions, spins, aerials and climbs on a pole, what it does develop is body flexibility, strength and body awareness. Combine this with transitional dance it helps in the interpretation of musical movement, teaching how to keep the body graceful. It is this gracefulness that makes the difference.

It is also good for your health. It provides cardiovascular exercise, keeps the bones strong, the body supple and flexible, and works many different muscle groups.

This may be beginning to sound like an advert. You could try a combination of swimming and ball-room dancing to achieve the same but it strikes me that this would be something beneficial for a model to try.

You also may be thinking so far that this would only apply to female models. Males also require this agility or animation in their tool-bag of abilities and males are taking up this form of exercise more and more.