absolution
I'm totally blown away with this beautiful ballerina. It was cold and wet and she was cold and wet but wanted to press on to get this shot. Stunning :) ...
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I'm totally blown away with this beautiful ballerina. It was cold and wet and she was cold and wet but wanted to press on to get this shot. Stunning :)
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Jun, 2017Views
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Same photographer See allBehind The Lens
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Behind The Lens
Location
This image was shot outdoors in light rain on Bournemouth Beach, Southern England.Time
The image was part of a series that we shot on location after dark between 10pm and midnight. The ballerina here was just amazing and so graceful.Lighting
The lighting set up was quite simple really. A "salve" flash unit was used in conjunction with a diffused/silver reflective studio umbrella. It took a few test shots to the get the flash compensation dialled to the desired output.Equipment
The image was shot on a Canon 1DX Mark II using a 50mm f/1.2 prime lens (Hoya REVO UV(0) filter attached. The lighting was created by using a Canon Speedlite 600EX-RT remotely opertaed through a Canon Speedlite Transmitter (ST-E3-RT) mounted to the Camera's hot shoe. A Manfrotto carbon fibre/magnesium tripod with gerard head was used to stabilise the camera. Most importantly was a second ballerina to "choreograph" the model's positions in relation to the umbrella during the shoot.Inspiration
The idea for this shot had been stuck somewhere in the back of my mind for a while. The image was created when photographing a ballerina on an English beach with fire poi and I thought it was time to turn the idea into reality. The image was shot at ISO 200, 50mm, f/1.2 at 1/10th Sec. The camera was infinity focused in manual and bulb mode then triggered using a cable remote. The eye piece shield was closed to help avoid unwanted light reaching the sensor and the flash compensation was set to -3 (I think...).Editing
The image was shoot in RAW with camera standard setting chosen to maximise post processing potential in Lightroom. The imaged was cropped, had a touch of colour noise reduction along with some luminescence and tonal adjustments.In my camera bag
It always feels that my "camera" bag is heavier than the sum of its contents for some unfathomable reason. Canon's 1DX Mark II and 5D Mark III are usually packed, as are the Canon lenses; 50mm f/1.2L prime, 16-35 f/2.8L and the extraordinary 11-24 f/4L. Canon 600EX-RT Speedlight, it's necessary transmitter and Manfrotto Snake Arms to enable off camera flash are often stowed along with various reflectors, defusers and associated Paraphernalia. Most of this equipment usually makes it's way back into the bag, although, having said that I've left reflectors and other things behind.Feedback
My approach to photographing people is to feed and water them. Where possible I like to meet my models in a cafe and buy them coffee and "cake". Something as simple as a petrol station meal deal can bring a smile to most faces when "fine dinning" isn't available and it's cold or raining. Although the smallest details can be important (such as a model's hand/feet positioning or their facial expressions) when translating creative ideas into reality, I find it useful to keep checking my images, camera settings and equipment. Something simple that can be omitted when photographing people outdoors in the dark or in low light situations with/without additional creative lighting is a "plan". I find that having rough idea of what I'm after is essential and that my models are in the need to know loop.
