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Nov, 2015Views
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Behind The Lens
Location
I took this photo of my eldest at home. At the time, I was very new to ocf so I was having fun trying out different setups using just one flash and my favourite modifier at the time - a softbox. I'm self taught, so every shoot is a chance for me to expand my knowledge.Time
This was taken during the evening. I recall at the time that I hadn't picked up my camera for a few days and I was starting to suffer 'withdrawal' (don't most of us, haha). I begged my eldest to sit for me so I could practice lighting...to which he replied, in true 9 year old fashion, 'only if you buy me sweets!' Haha. I assured him I would of course. He's always a little reluctant at first because he's a little self conscious in front of the camera...but he does amazingly well. Were it not for him and the countless times I've photographed him, I wouldn't be at the level I'm at now. I'm incredibly grateful to him.Lighting
As previously mentioned, at the time alot of my photographic work revolved around teaching myself lighting techniques - what would work and what wouldn't. Previous to using ocf, my main source of lighting was always natural light but utilised in a low key way. I've tended toward a preference for moody and dramatic lighting since I started in portraiture and this was something I was very keen to replicate using flash. My two favourite types of lighting are rembrandt and butterfly - both in their own way, are very dramatic styles (and possibly the most heavily used across the board by most portrait photographers, although this is merely my opinion). I knew that for this image, I wanted something with lots of drama, a heavy shadow to light ratio but also, a sense of symmetry - something that, when used right, butterfly lighting does beautifully. It's also a very simple setup - one flash on a stand, in a softbox, set directly in front of the subject, with the light slightly above and angled downward. The one thing to watch out for with butterfly lighting, is the shadow beneath the nose. It shouldn't reach the upper lip. My only issue really with this setup, is that ideally you'd want a boom arm (something I don't yet have). Otherwise the lightstand itself is actually in the way of the shot, in this instance not a massive problem as it's a close up headshot.Equipment
This image, was shot using a Canon 5D Classic, and my beloved Canon 85mm f1.8. Lighting equipment was a Yongnuo yn-560 mk IV, lightstand and bog standard 24x24 softbox.Inspiration
Light and shadows. I'm utterly obsessed, particularly with portraiture, with how the interplay between the two can either make or break an image. How that same interplay can transform so many things within the end image - how the person looks, the overall feeling you want to convey. Yes other things certainly contribute but for me - those two things matter most.Editing
I did. I love post processing, it's an artform in itself. Portraiture really does present a great opportunity to expand learning in this regard. For this image in particular, I think the two main things I played with to enhance the overall drama were the tone curve and the adjustment brushes to dodge and burn. 98% of my editing is done in Lightroom and the adjustment brush is one of the best tools it offers.In my camera bag
Tough question...it honestly depends on what I'm shooting. For portraits - it was literally just my 5D and my 85 1.8. But having recently acquired two new lenses - a Canon 135mm f2 L and a Sigma Art 35mm f1.4...the 85 has temporarily taken a backseat, particularly in favour of the Sigma. It's not a traditional portrait focal length I know, but I just love the different 'feel' it brings to my work now. The distortion, having to work just that bit harder for a composition that works, the almost 'documentary' style it lends to resultant images - out of the three, 9 times out of 10 I reach for the Sigma first. I guess it also depends on my mood too though...I love old film camera lenses, particularly Russian ones (I learned on vintage lenses when I first started out - they were cheaper), my favourite being an old cheap Helios. It's not the sharpest but when shot wide open, the way it renders the out of focus areas - yum!Feedback
Keep practicing. And don't give up. I know when I first made the foray into off camera lighting, I was scared. It did seem daunting and complicated but, don't push too hard. Start off with one light, and one modifier. Experiment. Move it around. Alternate between including and excluding ambient light. And don't feel discouraged if you feel you haven't nailed it. Every single one of us has shot photos that we've later looked at and thought, 'that's rubbish'. Use those to learn from. Why doesn't it work? Is there too much light? Not enough? Is the shadowing attractive? Before long, you'll learn to instinctively know what works and what doesn't. Here are a few tips though - Start by setting your desired exposure in camera first (whether you want to include or exclude ambient is upto you) Then add in the light. Set it to the lowest output. If when you take the first image, you find it's not enough, increase the output of light incremently until you achieve exactly the amount of light you want to hit your subject. From there, experiment with the light positioning. And remember - keep it simple.
