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Same photographer See allBehind The Lens
Behind The Lens
Location
Artemis, is an incredible model and one I had been wanting to shoot with for ages. Once I found out that she was going to be in my neck of the woods I booked her for a few hours. She was staying in with a local photographer, who also rents out his house and studio for other photographers as we are very limited where I stay. I took advantage of the opportunity and booked the studio and Artemis for half a day.Time
I remember the day starting off pretty chaotic for me, from waking up with a flat tyre. not having a spare and then making sure I had everything for the shoot, I was a bit of a mess when I finally met up Artemis. She was totally relaxed though and even though I forgot some of my equipment we rolled with it and took some incredible images that day.Lighting
If I remember correctly we focused a lot on natural light, because the bedroom we shot in had a massive glass door on the one wall, this shot however was on the opposite side of the room and so I needed to bring some light in. It was a very simple setup though of just one Bowen Gemini 500 with a 6x4 softbox at a 45° angle to the right of me, so that i could bring a bit more light onto her.Equipment
I was using my trusty D800 and my Tamron 70-200 f2.8 and this tends to be my go to kit, It does sometimes get a bit frustrating, because of the space I need to work in, but I just cannot get past the quality I get from this setup, so I tend to make sure it works. Lighting was one Bowen Gemini 500 and then used the natural light that spilled through the glass doors and windows.Inspiration
What really inspired me in this shoot was Artemis herself, she has such a bubbly personality and is always eager to get some great images It also helps that she is a photographer herself so we were able to bounce ideas off each other. She is also extremely good at shifting the mood of her body and expression for whichever desired image. I found this especially evident in the shoot we did after this one, a year later, which I hope to one day talk about and share with you all the experience.Editing
I always do some slight corrections in Camera Raw, then a bit of frequency separation, split toning, dodging and burning and finally a high pass which I mask out the areas that I don’t want to sharpen, (i.e. skin) in Photoshop. This process tends to take up quite a bit of time, but it is worth it.In my camera bag
I obviously have my D800, a Nikkor 85mm 1.8 prime, my Tamron 70-200 2.8 a 25-70 2.8, a grey card for white balance if the location proves to be a bit tricky. These are my go-to’s and I then add extra gear depending on the location. I have also recently started adding in my Godox ad360 its a really powerful little light and ideal for on location shoots that you don't want to carry around three massive bags.Feedback
Feed off your model, find where their strengths lie and then try different angles and positions. It is our responsibility as photographers to get the best out of our models. Sometimes we are lucky: the models are experienced and we have little to no guidance to give. With more inexperienced models it pays off to help them find their strengths and coax it out of them. I spend time researching modelling just as much as I do my own craft (of lighting, equipment etc.). In shoots such as mine and Jayne’s, where you have no clear path or plan at the beginning, it is worth finding a colour within the space to try and work with. But less is more, as you can see with this image. Colour can be a powerful tool though, if utilised well.