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Jun, 2014Views
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Same photographer See allBehind The Lens
Behind The Lens
Location
The photo was taken in my room which transforms into a studio area when needed.Time
Around afternoon after the MUA finished the makeup, which took around 2 hours to complete.Lighting
Two speedlights were placed in collapsible 60x90cm softboxes for soft rimlights and the main light was also a speedlight in an Apollo 28'' softbox on a boom for even lighting and soft enough to eliminate any major issues with the shiny body paint.Equipment
Nikon D300 with 50mm 1.8 lens set at f/9.0, ISO 200, 1/160s and flash WBInspiration
Along with the MUA we were inspired by the bodypaint series of Alexander Khokhlov and we searched the web for other black body paint shoots. We decided to go with a floral elements on entirely black body.Editing
Standard skin retouch with heeling brush and dodge and burn technique. The most attention had to be paid to the edges because whenever the model touched her face, or even when the skin on her neck touched, the paint transferred from the black area to the neutral skin area.In my camera bag
Nikon D300, nikkor 50mm 1.8, Tamron 17-50 2.8 nikkor 80-200 2.8ED and recently also a Fuji X100 with TCL-X100 teleconversion lens for any backstage photos or even for use as the main body in the studio or outside. Second bag carries all the flashes, which are 2x B 600 and 2x YN-560II, plus transmitters and receivers.Feedback
For anyone working with shiny bodypaint I would like to suggest using lightsource broad enough to eliminate overexposed highlights. Also more recently we have done a shoot with gold body paint and frequency separation postprocessing technique is really useful for such images. Having separate layers for the texture and color is very helpful in the retouch of painted skin.
