Black Swan
Model-Dancer: Rachelle Summers
Location: Hallam Mill Photography Studio
Dec, 2016Views
543
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Awards
People's Choice in Tutu You Photo Challenge
Peer Award
Superb Composition
Top Choice
Absolute Masterpiece
Magnificent Capture
Superior Skill
Outstanding Creativity
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Fidster_Arfon
October 10, 2017
Thanks, Jeff and thanks to everyone who voted this as "People's Choice" in the "Tutu You" challenge.
Same photographer See allBehind The Lens
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Behind The Lens
Location
Photograph was taken at Hallam Mill, a 5-storey former industrial mill. The studio has 3,000sq ft of floorspace with large windows encompassing two walls, which is perfect for natural light images and a sense of grand scale to an image. http://www.truedefinition.co.uk/studiorental.htmlTime
Time of day - 15:42 on November 14th 2015.Lighting
Light was dropping as we were nearing the November sunset. From what I can remember, this wasn't a particularly sunny day outside, in fact it may have been raining. Had the studio not had the large windows and floorspace it had, I don't think I could have captured the image I wanted there and then. Settings, using a prime 50mm f1.8 lens 1/60 sec at f2.2 at ISO 320. Looking at the metadata, the exposure bias was set to +2 (I will be honest and admit that I was experimenting with lighting settings here, so concede that my maths may be a little bit off, to people who know this a bit better).Equipment
Nikon D7000, Nikon 50mm f1.8D, tripod and I may have used a shutter cable to minimise camera shake from manually pressing the shutter button. Natural light was used.Inspiration
I've always liked frozen, statuesque, motion capture dance-themed images and will try to incorporate this into a shoot where the hired model has previous examples of this in their portfolio and Rachelle Summers is more than capable of putting herself in many dance-related scenarios, classical and contemporary. I hired the studio as it had a no-frills dance studio air about it; a large space where the 'dancer' can get lost in the flow of her routine and move about freely.Editing
I don't tend to shoot using the camera's pre-set white balance options, working the Kelvin setting, I note from the NEF file this was set at 4550K, as I wanted a purer white, compared to a warmer white. That said, I altered this in post production (approximate pre-set setting would be "Cloudy", or 6550K) as it looked a little too cold. Plus, I had to raise the exposure level by approximately half a stop brighter (which may again throw light on the above mathematical settings error). This was a quick edit done via Windows' Photos software, but the above alterations would've done the trick in Lightroom just the same.In my camera bag
I used to pack everything photography related into an over-the-shoulder Lowepro bag, from user guides, to Cokin filters to every single lens, but I've since downsized. I will carry the above mentioned camera (Nikon D7000), Nikon 50mm f1.8D, Tamron 18-270mm (this is usually my go-to lens), a Tokina 11-16 f2.8 lens, a mid-range Nissin speedlite as well as a velcro strap soft box modifier, plenty of spare AA batteries, spare tripod/monopod mounts, shutter cable and spare memory cards, though the 2x SD card slots on the Nikon D7000 is more than sufficient, especially if, whilst the model is changing outfits, I download the images onto a laptop as back up.Feedback
Research you model's portfolio and go for a model*** who has experience of working en pointe. Some models may be able to stay on pointe for long, single periods, whilst others will only go en pointe for the image - check with them their preferences and offer plenty of breaks if needed. Prior to shooting of course, allow the model time to warm up properly, to avoid any strains or injuries. Depending on the light, shooting via a tripod should secure a better focused image - you don't want your model to waste energy running through a couple dozen sets of images, only to find that the focus is too far forward or behind the subject, or that there is hand movement causing blur. Add to the tripod addition a cable shutter release (or wireless remote/tethering) if you have that option to further decrease the amount of movement imposed on the camera by hands. Give the model plenty of reference images beforehand as to the type of shapes and poses you're looking for, and the type of dance outfit (again, be it the traditional ballet style with tutu or more modern Flashdance-style leotard and long leggings). When framing the image, ask the model to stand en pointe with hands raised, so that when she goes into her pose, you've accounted for the additional height of her hands above her. Similarly, pre-frame with a few testers if she is leaping for an image, to avoid repetition due to poorly framed images. This will also allow you a chance to check the focus, if you have Live View option on the back of your camera, or if you are tethering to a laptop. Count the model in to her routine/pose (3,2,1) or let her count you in (making sure to know it's 3,2,1, pose or 3.2.pose!). If your model can hold a pose for a long time then you can take a single frame, or you can work in Continuous/multiple frame if they aren't or if there are leaps/dynamic poses being offered. You can play music appropriate to the style of the dance in the background, but it's not wholly necessary. Though this was a ballet theme, I think we had Oasis or similarly Manchester-based rock bands playing in the background during this shoot! See which you model prefers to get in the zone, as it were. Some dancers will prefer to work in a studio which is set up for dancing, as the floors can be more forgiving, more spongy and therefore impact less on joints when performing leaps. If you have or know of a nearby dance studio, see if they can be hired for an hour or two to shoot in. You will understandably feel that you have to rush the set, so as not to tire the model out too much for long periods of pointe, jumping, static holds etc. Keep the pace consistent, but take your time to make sure the basic set up fundamentals are covered and that you are capturing your concept and, if that means more breaks for the model to stretch out, then account for time needed during that set/booking to allow for this. *** Whilst referring to the 'model' as 'she', the above will also apply if you are working with a male dancer...apart perhaps from the tutu bit!
