Product influences for final 10 images

The Flute image for Andrea's flute

This is a small selection of images taken from the Pearl website. This is how they advertise their products (in part) but are on their main front page.

This is part of one advert showing one of the different types of flute they have available in different styles.

This is on the opening stream

As is this one

This is not on the web site but shows a different way to shoot the product, although the background does not relate to music.

This is also not on the web site, but is another different way to show the product (see my golf shirts eg).I had considered stringing the flute up and photographing it before I saw this advert.

This is my final chosen image from my shoot which I set up on my dining room table, which is loosely based on the above with my interpretation, and there is still room for some advertising text on the image. Also there is a contact sheet which shows the alterative images I was considering. I chose the image due to the shape and coloring and lighting and the overall look of the image.

This then is my chosen final image

I have used similar techniques to produce the other images in this submission. For example I have included below the contact sheet for Graig's portrait and plastering equipment.

Here is my contact sheet for Craig

And here is my contact sheet Niki

The equipment used for these images was my own, with the lighting units borrowed from college, and using my dining room for all images. I tethered my camera to my laptop so that it was easier to see the results of the image once taken, and also, when photographing subjects the subject was able to see quite clearly the image that was taken, which made it easier to follow my instructions as he had the previous image in his mind to respond to. I have found that this is a good way to enable a better rapport between myself and the subject. I also use a wireless trigger wich makes it even easier to communicate with the subject, rather than trying to talk through the camera. This also makes it easier to move around, and even release the shutter closer to the subject when required to give directions in some cases, or hold reflectors as required, as you can see the image from the subjects position. Also used in this situation was the light meter, which has proved to be a boon and makes setting the camera alot easier.

Health and Safety wise, certainly when at home, you have to be very aware that the trailing cables are well away from the working area, not all plugged into the same socket, after taking note of the electrical requirements from the lights, camera, laptop etc. Also warning others in the house about what you are doing and placing certain access points out of use. Also some subjects will need a braek due to the intensity of the lighting, and this would also give the lighting chance to cool down.

Lhottie at Calke Sunday afternoon

Once again Jim envigelled me into being his glamorous assistant, this time with Lhotte, so really did not miss the footy (well the Germans turned up anyway), much more fun out at Calke in the sunshine. Lighting was difficult, despite it being sunny (much cloud at times), but lovely and warm. Reflectors and flash just about made it. Just got the reflectors right and the sun went behind the clouds. It should be easy outside! Never the less Lhotte was very good, and very patient. Below are some of my images taken when the BOSS did not want me to hold his reflector.

Jims idea was for some Editorial shots using the light under the trees. I just enjoyed the opportunity to experiment with the light. No plan except Calke is a very good place with so many places to photgraph. I learnt a lot today, but time of day could be better, so next time will either be earlier or later in the day..

As Lhotte only had small sandles on we had to make sure that she was walking in an area without the thistles, and when she was not wearing shoes then to make sure she did not tread in anything she should not have been, especially as the cattle had been on the field.

When the sun was out the Gold reflector gave too much light(reflected under the trees on the model), the silver was also too much at times, but did good fill light to the face. The white reflector did not really register, although if placed close to the model it would have not been in the position to reflect the ambient light. Also had to be careful not to blind Lhotte.

This image was taken in the open with a cloudy sky.

Love this, taken in full sunshine and with a straight conversion. This is in line with my theme in the studio. I was pleased to get this effect outdoors as well.

Cheeky smile with my hat on, can't remember what I said now.

Somehow my hat got into this.

Just bursting into the sunshine. Fabulous dress, swayed in the breeze. I cant remember which pattern it is from the giraffe, not that Lhotte is anywhere near like a giraffe.

Mind the prickles on the grass, so many thistles, nice spot Jim!!

Peeking from behind the tree.

Lets pose now for Jim

experimental things 2

I had some climbing equipment lent to me as I wanted to photograph it, and I set out into my garden once again, also with some borrowed lenses. Many thanks Ruth. My idea was to create an image of the various pieces of climbing equipment in the form of a man. it would have been difficult to string everything up, so I got my ladder out, about my height and started to assemble my work of art. I had initially tried it out on the ground using the ladder to get over the top but this did not look right, hence "ladder man". Of course, the ladder was too dominant, as was the background, and even with a 50mm 1.8 lens the background was still too much in focus. So, out came the ladder, and I was pleased with the result, but not the background. I then decided to do the individual parts and I really like the results, especially of the harness. In using my garden I had to be aware of other people wanting to use it (so told them not to) and lighting the area, I did not have an extension lead long enough, so no artificial lighting, and I was aware of the dampening conditions due to darkness coming on. I had to be careful with the fishing line as I did not want to cut my fingers, nor damage the tree I was tying it too, nor the goods on show, and also the pulling force one the "arms" as the weight tended to want to pull the supports (lighting stands) over. Although it took a while to create, it took less time to make rather than create in photoshop ( which only to minutes to adjust the final image anyway)

Overall I was pleased with the the outcome, and the product shots I like, as I managed to blur the background as I could get closer to them, rather than being further back for the larger image of the "ladder man". In some ways it has inspired me to name this "hanging by a thread", as climbers rely faithfully on this equipment.

1st Studio session

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Here they are Steve, my first attempts, with some alterations to originals. I found that the subject was too close to the background, which has not come out black. Should have stood further back to bring Brent away from the background to achieve this. (crit by my son on this). Mr Steve pointed out that he felt the eys were not in focus on most of the shots. I don't know if they are here or not. I was using the college 5D, so a joy there, but had to get used to it.
Anyway, comments most welcome as to the technique and lighting please. Mr Steve has given me pointers in as much as to make my mind up what I want the viewer to see in my portraits eg golf club or person! Does this work as the club points to the subject in that image? I did use the snoot and the main light as well as the barn doors(separately of course).

first go image

original image with barn doors
B & w version with contrast adjusted, cropped and golf club added from better lit shot! on the club! Mr Steve says duel lighting is several steps forward of this lighting set up! ie using more than one light.

original image, with reflector to the left, with barn doors 40 degrees to right

crop of original to lose the "pinky". Had to get the light under the hat.

straight B & W conversion, needs contrast adjustment

This is getting better, contrast added and cropped further.

attempting a more fuller portrait, with barn doors.

Bowens Lighting Kit

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This is the kit I have used at home, borrowed from College, to take the "producture" shots included elsewhere in this blog. I have also used these ligths to create some of my portraits  at home in my lounge.
The biggest concern when usin gthese light was the safety issue. I had to tell other members of the house not to come into the lounge and dining area as there would be cables trailing over the floor (as tidy as I could get). I had set the lights up in a sensible way though so as not to cause any trip hazards (see note book). I also leanrt how to set up my laptop so that the cables were away from the working side. I also let the model know the whereabouts of the cables etc. Also the backdrop at home was only pegged to the curtains so I had to let the model know where to stand and informed them of the psoosiblities of it all falling down if they stepped back to far. No one did, they did listen. it was just a shame there was no snoot with the kit. I found the kit to be excellent.

The Bowens Esprit Gemini Lighting Kit includes:-

2 x Bowens Esprit Gemini 500W head

2 x Bowens 92 mm Umbrella

2 x compact lighting stands

1 x deluxe Kit bag

The power cords, sync leads and modelling lamps, and also included a battery pack.

The dual purpose silver/white umbrellas feature a white interior surface backed by a removable silver fabric with a black backing which provides a soft, but highly efficient bounced light source. For close-up lighting, the silver black backing can be removed, allowing the photographer to get closer to the subject while lighting through the umbrella. Unique ten-panel design provides maximum reflectance with a circular light pattern.

I found this kit very easy and simple to use, and set to up at home. The power level was also very good and I found there was a good range to suit my potential images. Once I had tried a few images I was able to adjust the lighting to get to where I wanted it to be. Missing however was the ability to use a snoot and softbox, which were not provided with this kit and unable to borrow from college. I feel I could have used these to good effect. However, I am pleased with the results with the kit provided.
Of course the other consideration was not to overload the circuits at home, but by spreading the load over several sockets I had no problem.
I did prefer this kit to another kit that I could borrow, a 150W 2 light system, but I found that although it was very good, it was not as flexible as the kit borrowed from college, ie the 500W lamps.

The major consideration with use of this kit however was to ensure that the cables were not in the area's were trip hazards could be. This took some thought and I had to trail the cables to the one side away from the area of passage as much as possible. Using one light was not too difficult to adjust too, and informing the model as well as to the location of the cables. The other consideration I had to take into account is that I was using my Laptop tethered to my Camera, which necessitated a 5m lead, and of course the power lead.It was extremely good to use the laptop, as the model could then use the images taken to adjust the pose as directed easier than without, as they could also see the images as taken. It is also so much better to see for myself as well on a larger screen, alot easier to make adjustments.

When using the lighting kit I also use my light meter. It is a Sekonic 358 and gives a very good guide to the level of exposure required. Once set it is possible to take several images without changing the settings until the psoe changes, when a new reading is taken.

Rankin comments

John Rankin Waddell (working name Rankin, born 1966, Paisley, Glasgow)

He is a British portrait and fashion photographer. His subjects have included Kate Moss, Naomi Campbell, Kylie Minogue, Leonardo DiCaprio, the Spice Girls, Cate Blanchett, Damien Hirst, Queen Elizabeth II and Tony Blair. Born in Glasgow, he was brought up in St Albans, Hertfordshire. After being expelled from school, ( I met one of his old teachers on my Avignon holiday in sptember this year) he briefly studied accountancy at Brighton Polytechnic before moving to Peckham and studying photography at the London College of Printing, which he left to found Dazed & Confused with Jefferson Hack in 1991. He launched his own quarterly fashion magazine, RANK, in December 2000. In 2002 he launched with art gallery owner Alex Proud a photographic book imprint, Vision On. He also publishes Another Magazine and more recently Another Man. He continues to work in fashion, advertising and for magazines internationally. He is divorced from the actress Kate Hardie. Rankin has recently moved into film production with his project The Lives of the Saints, a gangster film set in London. Rankin was recently the photographer for Regatta’s upcoming advertising campaign featuring outdoor loving celebrities; Bill Oddie, Janet Street-Porter, Michaela Strachan and ex-Blue Peter presenter Peter Duncan. The photo shoots which took place at Richmond Park, Hampstead Heath and a Scenic location in Yorkshire, were part of Regatta’s efforts to promote their forthcoming Spring/Summer 2008 range.

I had the good fortune to be in London on Saturday 12^th September 2009 when I visited “Rankin Live” in Brick lane. It was very interesting to see how he worked. I was very surprised at how close he was getting to his subject, how close the light was to the subject, and how little time he spent taking the photographs. It was all in aid of his 1000 portraits project that he is currently undertaking. It was also useful to see how many assistants he had working with him. There was a light person, a wind machine person, and a technician working with him when photographing. He then handed the camera to the technician when finished, and at least went to the laptop with the subject to quickly discuss the photographs. The photographs he took I felt were disappointing as the poses were very similar, whether portrait or nude, and with the lights so close the faces etc quite were washed out. Looking at some of his other work displayed, it seem to rate from rank to excellent. Some were so ordinary and did not have any obvious meaning, only to him and his idea. For example, he had a dress which several models wore in different locations, but they tended to look the same, and the style of the photograph was always similar. I know that was part of the intention but?

I was impressed however with his pictures that were displayed along the Southbank, of which I have noted mainly as examples of his work. These are what I would like to achieve once I can get into a studio, as they have given me several ideas. Once again, though they are celebrities of one sort and another. How would they be if they were of ordinary folk, and what would the meaning be?