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To look forward is in uman nature.

Model: Den Ise

This photo is part of a series of photographic works entitled "20 fotoartwork&q...
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To look forward is in uman nature.

Model: Den Ise

This photo is part of a series of photographic works entitled "20 fotoartwork" and will be printed in only ten pieces size 40x60 cm. on special cotton art paper. For purchase mail to enzo.dellacqua@gmail.com
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Contest Finalist in Monthly Pro Photo Contest Vol 45
Curator's Choice
Peer Award
Outstanding Creativity
JJ_Photography richardmeyer Vitaliy_SN Herbertahollybaker Outski_Outa _9847_2532 jeffcarroll_0255 +10
Top Choice
RUMEN stigfagerli Unseeing edwardlrose mdcongas supergamax joshuashannon +1
Superb Composition
DanBarrx saintgiggles squillacegb edvarela KS_Ramirez
Absolute Masterpiece
CURUTCHET michaeldahlvik gasparesparacia BEKA Svenergy72
Magnificent Capture
walterelliott Gilleroo1
xoxo-photo Soeno
All Star
Superior Skill



Submitted to Photo Contests

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artFix Exhibition ProjectTop 10 class
artFix Exhibition ProjectTop 10 class week 1
Futuristic Photo ContestTop 20 class week 1
Portraits With Depth Photo ContestTop 20 class
Portraits With Depth Photo ContestTop 10 class week 1
ViewBug Photography Awards 2018Top 10 class
ViewBug Photography Awards 2018Top 10 class week 2
ViewBug Photography Awards 2018Top 10 class week 1
Creative Compositions Photo Contest Vol7Top 30 class
Image Of The Month Photo Contest Vol 38Top 20 class
Creative Compositions Photo Contest Vol7Top 20 class week 1
Image Of The Month Photo Contest Vol 38Top 20 class week 2
Monthly Pro Photo Contest Vol 45Top 30 class
Image Of The Month Photo Contest Vol 38Top 10 class week 1


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Behind The Lens

I have a small studio in my house, a rather magical place where you can see Lake Maggiore and the lights of the houses on the opposite bank trace trails on the water on warm summer evenings or during the cold and long nights of winter. Outside a world, inside the photographic studio a second universe. The place where I give life to my shots is even more than a place, a state of mind. There is where I shoot, before the real place, in my imagination.
This information is very useful when it comes to shots in natural light, that of the day, as indifferent when the only light is artificial, as in this shot. It was an afternoon, one of those in which you gather your little crew, change lights and backdrops, work on a subject that can interpret what you want to say. One of those days when you shoot a little, observe and you feel that everything works. A fortunately inspired moment.
In this type of shooting light is the absolute protagonist, the specially designed studio flashes have worked very well. The light scheme, although classic, thanks to the correct position with respect to the subject, was able to make an image of the face suggestive without being sacrificed in any way the background, also part of the scene with its references to the work of the extraordinary Kandinsky. Two of the flashes were in fact dedicated to it, while the model was illuminated by the key light with a 90 cm beauty dish. Obviously, most of the lighting treatments, in cases like these, serve to maintain the desired balance in photography. It is therefore necessary an equipment able to provide great adaptability of power.
The camera body Nikon D750 has done its job well, helped in the recomposition of the scene and cut from a 24-120mm lens set to 92mm, f 13. All chosen in order to maintain sufficient detail in the background while maintaining a certain plasticity on the face of the model. Three flash Quadralite of which the one in k light equipped with a beauty dish. The camera was installed on a Manfrotto tripod.
The suspended present that has its roots in the near past and the gaze in the future. To represent this perennial condition of the human soul, I have chosen precise visual elements that pertain to my memory in an iconic contextualization. Kandinsky represents my artistic heritage and conceptual daughter of the 900, the model with his features and piercing today, his look and makeup, clear quote of the first "Blade runner" as well as the direction of light to represent the drive forward .
The shot required a slight correction of the color and highlights, with a slight emphasis on black.
In my camera bag
When I shoot in the studio, obviously my gear is fully booked. For shots like these use flash lights, for some other continuous light or a mix of the two. This means having four Quadralite professional flashes available, two with guide number 49 (m ISO100) and two 58 with modeling light. The triggher is very handy because it is able to drive each of the flashes (it could drive 16 of them) directly from the main unit connected to the camera. Obviously there is no shortage of softboxes of various kinds. With a white or black backdrop you almost do everything, if you do not adopt different backgrounds as in this shot. Supports for backdrops, tape and clothes pegs are sometimes very useful. I use the ones that are usually used in DIY, cheap and functional.
The difficulty of this type of shots is largely in knowing how to set the flashes optimally to get the result you want. Position the subject on the scene and check that what you have prepared is correct. If you work with more lights, pay attention to how they relate to the subject, without being afraid of wasting time to position them better. Once the angles of each light have been established, turn them all off unless the key light, in this case the one that illuminates the model's face. Now shoot and double check the effect of this light by varying the machine parameters and flash intensity until you get what you want. Now it will be the turn of the secondary lights of which we will change the intensity and angle without changing the parameters of the camera. Adjust them one at a time, turning off the others. You will see that this apparent waste of time, already from the first shot to the model, will repay you extensively of your work.

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