Paper and Jewelry - 1

One more Jewelry set from my friend Hiroko Ebizaki 

who brought the pieces and styled the set.  We wanted to use  different papers solid colors (this post) , or paper using an old paintings pattern  to create different atmospheres but using the same jewelry (next week!)

The light set up is what I have been using for my most recent studio jewelry shots.  Diffuser on top (but next time I want to try an open bulb) and a gridded hard light at the back. Ring flash as main fill  and cards as needed. Some selected colors editing  upping saturation and luminescence and some limited dodging and burning.

 

Handmade Jewelry by the Window.

 

I shot a little collection of glazed ceramic  earrings. They are and handmade and painted my a Pacific Northwest artist. Every piece is unique!

The art director/artist   wanted  to shoot with natural light and to emphasize the organic feel of the collection, with a minimalist use of props. We used leather, a wood slate and some beach driftwood.

Shot with a wide aperture (f4.0) on an overcast day. Window light and  a white panel on opposite side for fill.

The wide aperture forced me to pay attention to the very narrow focal plane...imagine an inch or two thin slab perpendicular to the lens at about one or two feet away. Where to focus the viewer attention and how to angle the camera compared to the surface on which the earrings rested was the challenge of this shoot. I  handheld the camera rather than using a  tripod was too limiting for the amount of pieces and the time allowed.  I used a shutter speed of 1/80-1/100th and ISO100-200, depending on the light of that moment.

Minimal editing, just cropping and adding some local clarity/contrast and  tone warming.

 

It's a Fine Line

 I had the opportunity to shoot a line of fancy skin care products list for Fine Line .   These are the results. 

I kept post production to a minimum and tried to get a mix of interesting catalog shots and a few more splashy 'hero' shots, where I played with the bottles as if they were skyscrapers.  The one with the incense smoke was a superposition of a few different images.  Keep your windows open before before the studio gets too smokey :).

Diamonds are a photographer's best friend.

 

Yes it has been a while. I recently had the chance to shoot a large jewelry collection, ranging from antiques to gaudy 70ies gold bracelets.  I had not had the opportunity to shoot tiny objects with excessive amount of reflections before so I was excited.  I had to shoot many pieces  in a short time, but I wanted to experiment  and get a few interesting images rather than  the usual clean on white background images for a catalog. 

So I went for a  simple geometric background  and relied on contrast, shadows and bold colors  to highlight the details. I wanted to highlight the 'substance' of these not so subtle pieces.  So I used:

- black plexiglass

-white marble slab samples (from a bathroom remodeling project!)

- dark grey paper background

 I also went for a macro lens, a  stabilized Canon 100mm f2.8 which was super fun to use. I even used it handheld for a few shots (I know I know)  and  images were still quite sharp. 

Set up: One softbox on top and a gridded strobe 1-2  stop down and behind the object, opposite to camera. (remember: the further  away this light is  the harder the shadows will be)   Just remember that  with a macro lens depth of field is truly  minuscule so dial up your flashes, close down  the aperture to  f20+ and beware of glare. Minimal post processing, but make sure to clean up your set from dust!

As simple as it gets. Black on white

This is a simple shot I did for an e-bay listing. Yes good pictures do help and this old super-8 camera sold in..20 minutes? E-bay needs simple, clean looks. I achieved this by

1. placing a large softbox as low and close to the objects as possible. This creates an even light, soft shadows and most of all nice reflection on all the black surfaces. The camera is standing on a table covered with white paper.
2. two reflective cards, one per side. 
3. a small flash positioned behind and below the objects, pointing at a white background about 3ft away.

    Boom! A bit of cleaning in Photoshop for the dust I had failed to remove (tsk tsk me) and the image was ready. 

Shoes in the rain aka: a rock as a prop.

I shot these two images with the same set up: top hard light, ring flash and some cards at the front and  the sides. The rain effect was obtained using a trusty sprizzer and an additional flash  to the left. Assistant: Adrian Rae Btw yes, the set is a concrete back alley.

Moonstruck

I have a small backlog of posts I need to write up. Here is  one I got to finish: a mini shoot I have done while helping  Kate Powell (art director)  and Adrian Rae (main photographer) on their main assignment. The theme was centered on the  moon and so we selected a full moon night and shot at different locations. For these simple images I used a speed light with a very very long snoot, hand held on a boom. I used gel to color balance the light (the filter was actually a light orange, as the ambient light  was very orange... due to street light).  The speedlight turned out to be a good alternative to more powerful systems, as the area to be lit was very small and I did not want any spill. Exposure times were  long, a good chunk of a second. Colors were shifted around in Lightroom. The superimposed nature  prints are from 19th century Japanese artists. Last but not least, Michaela (HMUA) and Mikayla (Model) did a great job. 

Oh magical Teapot grant me a wish.

Like a magic lamp, this (magical?) japanese iron teapot sits on a pile of black sand. This is a portfolio shot I did some time ago. Softbox from above, if slightly behind. Ringflash for fill and f2.8. The reflections on the handle come from the softbox and a few cards. I accentuated the nice turquoise hue in post.

Flash Jump.

Import/Export is a Seattle band that put me in charge of moving their image  'past the classic shot of musicians in alley'. The band and I  shared a love for the  documentaries of the explorer ship Calypso (which features in one of their songs).  We tossed ideas back and forth over a couple of sessions  and we decided  that a key concept was to add movement to the image.  The rain laden sky would provide a sense of  `unfamiliar' and `being away'.  The main image was obtained superimposing two shots and having the musicians jump on a little portable trampoline  (got the idea from a Dior shoot). The trampolines were removed in post and then the image was colored. Shot with  a softbox to the right and a ringflash as fill. f4.0/1/125/17mm/ISO160. This is the first time I used this set up in the field!

And the dog? Si the Dog, just literally walked by the set, on a  jog with his owner. Never say never to a free prop.

Annie Ford Band. And that chicken.

Annie Ford Band is a great group of  Seattle based musicians.  We shot this last Summer, with
a simple backlight sunset setting + soflighter setup. My valiant assistant doubled as chicken wrangler. Here is the link to the Annie's last CD:  www.anniefordband.com

That Class of 2014 look.

Every now and then I get invited to give a seminar on lighting tecnniques  at the excellent Commercial Photography  program SCCC, (Seattle Central Community College).  This is the result of this year effort. The program gives me  access to some seriously Pro level equipment,  a whole class of  excellent assistants and... some seriously talented and hipster looking subjects. Profoto strobe mounted on a Soflighter, high on a  boom high on camera left. On camera ring flash for fill  and screen on the right to block some the light from a very  sunny Spring day. What I like in this shot? The triangular shape created by  the shadows that nicely frames the subjects.

Under the Spotlight.

These images were inspired by a recent portrait of Elizabeth Olsen appeared on W Magazine

I wanted to experiment with two studio set ups but maintaining the same overall atmosphere of the original image.  The top one is taken with a close and up Beauty dish, just off camera right.
The rapid fall off is obtained by adding a grid and  a diffuser. The second one uses a ring flash
as front fill light. The differences (softer light the first, punchier the second) are highlighted in post.
The model: up and coming actress Mariel Neto. Make up and styling Tiffany Parente Connors.

Take the Bread and Run

Last Spring I went to the Painted Hills, OR with a small group of photographers to shoot some new images for our portfolios. These are a few from my set.  They are  good examples of a current
trend in commercial photography  and short videos: suggesting a mood rather than telling a clear story. The landscape, the colors and the key objects combine with the movement of the subject to originate tension and to create an image able to hold attention long enough to be remembered.  However,  the details of the story are best left to the viewer's imagination.  Why is our hero running through a frame, holding a red bag filled with bread? Why is he carrying a camera? What role is the woman playing? The point I am trying to make with this image is.. he could be holding anything as long it is colorful or shaped in a way to immediately capture the attention of the viewer. The other clues (the camera, the old cowboy boots) just further enrich the image, without being too distracting. This is what a commercial client 'd ask from a set like this.

The lighting is similar in all three images , a softbox to camera side, high and close to the subjects, scene cross lit with the sun. However the images look very different. In the first and second photos the flash overpowers the Sun. Coupled with some post processing that alters the original palette it creates a dreamier,  more staged look. In the third  image the  flash is used only as fill,  to give more of a structure to the floating vest. I noticed that often clients love the first set up and then ask you to 'tone it down' a bit to achieve the second. So it is good to show that one can create a range of images with the same tools.

Portraits with Natural Light

These two images have been taken in exactly the same spot, using two very different cameras, but the same light set up, which I consider 'classic' for studio portrait. Both just use only natural light in a way that closely mimics the studio. My point? To show how I  can apply  a simple light set-up   independently of the environment  (the photo studio or a fancy bar).  For this images I used a  good digital SLR (focal lenght was 20mm, almost equivalent to a 35mm at full frame) and an iPhone, with has an  even wider lens.  Both images were shot at f2.8. So where are the lights and most importantly, where  the lights aren't? Think of how you 'd light this in the studio:

-  Key: large softbox to camera left.
-  Accent+fill: striplight to camera right.
-  fill for face: a white reflector under the subject or a small softbox low and a bit on camera right.
-  hairlight or better a spot light.

 In an bar you have to  position yourself and the subject in a way to take advantage of 
the natural light sources you have, in this case;

1 -   a large,floor to ceiling window a few feet at  camera left, with mostly reflected light from nearby buildings.

2 -   a  door looking  into a small backyard, about 30' to  camera right, at the end of a dark corridor.

3 - an electric light behind the subject

4 - a white table

5 - the most important thing: an otherwise fairly dark room, with  interesting fixtures and dark walls that absorb light and  do not reflect much or any, back onto the subject. The images would most likely do not work as well in a room with white walls, that would make the lighting less interesting.  Also, any bright colored walls would make getting appropriate skin colors pretty hard. So choose your scene carefully....

But at the end pretty similar schemes right?

 The two portraits also show the effect of using  (top) a very  wide lens  to get a  dramatic effect, amplified by the reflection in the model's sunglasses, compared (bottom) with a more classic, 'commercial' framing of the subject. The larger DSLR frame has a shallower depth of field, which shoows in the slightly out of focus  bar furniture.  In both cases I did some light skin retouching  and some post coloring with Lightroom. And if you need to hire a speaker  to talk about planets and stars, you can go here, a website where  you can also hire Salman Rushdie, although his portrait is not as good, at least in my opinion ;).

Tuesday Morning, 6AM: never say never.

The Blackberry Bushes Stringband  is a really good  North West based band that I photographed late this Summer on a bright sunny morning.  The Sun provided plenty of backlight. It was windy, so I just added a key light high on camera left (an Einstein head with a handheld large diffuser), a set up that is easy to work with two assistants who know what to do (hey Danny and Ashley).

This set  is a good example of how sometimes I try an idea on a test shoot and then I apply it
with a client. The image I blogged about a few months ago used a distressed background and warm colors  to give the feeling of 'Old West'*

The BBSs loved the idea ...and j added the owl and the Budda's head. They were also adventurous enough  to stand in the water with their instruments for the sake of making the image more captivating (photographers love adventurous subjects!). We were done by 10am, just in time for brunch...

*I make sure to keep a standard,  version in the archive, just in case.

As Winter gives way to Spring

This is a test shoot with the amazing Josie Haney we did last Winter. It was a cold, windy day at the nearby  UW campus nature reserve. I wanted to experiment with colors and distressed textures, perhaps taking  a bit away the focus from the model (sorry Josie!) or the product. Why? It's an approach often used in commercial images to set the mood for the viewer, especially on  splash pages on web sites,  . Remember, you never sell things, you sell solutions to people problems, or needs. Lighting scheme is  minimal fill with sunlight in the background,  to blur the sky without overexposing it. Warm tones reminding of the old West and daguerreotypes.

Making People Happy with Natural Light.

I was hired by Compendium Inc. to photograph their new series of greeting cards and the displays they are going to be sold from.  That posed an interesting challenge. I love shooting still life, but their style is a bit different from the one I usually go for.  They wanted  bright images, with a strong 'natural light' feel to them. This is sometimes easier to be said than done here in the NW, where natural light is often rapidly changing during the day. My solution was to shoot with mixed light, putting the displays (and the model in another similar shoot) next to a large window and letting the natural light to work as a global fill, about 1.5 stops below key. Then I  put a large softbox 6ft high on camera right to be the main light source, well aligned with the windows. Then a strip light behind the display on camera right and two smaller ones pointing and the white background.  To give the image a bit more of a 3D 'punch' (but while under the watchful look of the AD,  to stay consistent with the Compendium look ) I used as  a cheap ring flash adapter  as fill.  The flash  was mounted on an on-camera Canon Speedlite.  So umm,  five lights total. Note:  this set up requires your other strobes to have optical slaves.


Have  you noticed that the format of the blog posts has changed?

Everything but the Girl

This is my favorite image from a shoot with my friend Kristin, whose latest artistic project involves singing and writing songs for her band Imaginary Daughter. While sometimes I enjoy doing complex outdoor shoots, A studio portrait taken with  a large softbox at camera left, up and close to the subject. Why add distractions when the subject can hold the scene all by herself? Nothing else was really needed and even the post processing was kept to a minimum. MUA and assisting by the fast, talented and witty Shannon Colleen. You can find her at VAIN.

Just Shirts. But.

This is my favorite still image from a shoot I did for a fashion company that designs, you probably guessed it, shirts. The most fun part of the shoot was deciding how the shirts should look like, or, better, what should the viewer feel. And who is going to be the viewer? The target customer of the company a +40, married, reasonably wealthy, married guy? One never really sells a shirt. And a shirt is a shirt is a shirt...so we thought that the buyer (most likely his wife or so the marketing research offered) would rather imagine her partner doing cool things rather than being at the office. The look and palette came together shortly after that: a bit of americana, warm colors, old wood, a truck parked somewhere. Yes the shirts have to 'feel' more than just 'look' nice. This is the final result, or..the final result I liked the most, but not the one that made it to the final campaign. Oh well! But how did I get the shot? $20 worth of wood panels painted to make the wood darker, a softbox with extra diffusion from an opaque plexi panel low and inclined behind the shirts (the bottom of the box was flagged) ringflash on camera and two super thin strip lights on the sides. Shot from above. The most important thing? The styling of the shirts done by the always impeccably perfect Kimberly Swedelius. Oh yes, remember to copyright your images once you are done with the shoot. Just saying.

Imaginary Daughter

Kristin and I have worked together a number of times..remember 'splendour in the grass'? Kristin has started a band, and it's called 'Imaginary Daughter'. So were thinking of finding an image for say a promo image. This time we worked in the studio, with make up and hair courtesy of the talented Shannon. Just a softbox at camera right and a white card to the right for fill. And the table of course. I