Back to business,well nearly..

Jill set us about a little extra session to go anywhere in the CCAD building and take some images in a small group. We were only allowed to take shots of each other and not allowed to communicate in any way. I went off with Candice and Jess to one of the glass corridors on the first floor. We then went back to present our work and discuss it with the rest of the group.

It mostly confirmed for me the need to be able to talk to your subject and get a feel for what they are thinking along with how they look or your not going to get the best out of a shoot.

I processed the images at home afterwards on lightroom and here they are in no particular order of sexiness..

Sparkles Rest Bite

Just as we were getting into it I had a little work to do outside of Uni, As Nebula my own photography business I had a little log cabin at the Sparkles Christmas market in Stockton On Tees. We were there to help promote our family portrait packages by doing cheap Christmas themed photos on the spot.

You might think what has this got to do with real studio portraits? Well nothing and everything! It was like a mini version of our studio assignment so i tried to emulate the conditions as best i could and implement all we were doing in the studio in a tiny space.

Using a Nikon D7100 with an 85mm lens(tethered to a laptop running lightroom) i shot subjects against a red backdrop with Christmas lights in it for a bit of sparkle. A soft box with a Nikon flash wireless remote controlled from the pop up flash built in to D7100. Due to space restrictions it had to be set at a Rembrandt angle and height for each and the only alteration i could make would be the depth of field depending on how many subjects were in each shot. It looked a lot better to have the background lights totally out of focus,so for single subjects i opened up the aperture as wide as it would go to create a nice bokeh effect. However if there was 2,3 or even 4 i had to close it up a fair bit in order to make sure all their faces were in focus.

In total there were over 200 sittings in the cabin over the week so ive included some of those images as part of this research as I think it helped a lot in the practical side of the shooting. Having to be fully in control of the subjects regardless of their age or temperament.

Sparkled

Rudolfed

Abandoned

Unimpressed

Muffled

Face palmed 

First Independant Studio Session

The first time we got to go in the studio in our groups is when we started to take control more of our own images, We had been in a few times already but it was just a free for all and really just learning to use the new camera and how the lights worked with it,so no point in showing those as i wouldnt be able to say they were my own images if im honest..

These are 3 of the better shots, using only a key light and no back lighting or reflector. They didn't turn out too badly for a first attempt,but didn't really capture any of their personalities like i had hoped. No real connection was made between myself and the subjects with very little direction other than turn this way or that. I think they,like myself were a little self conscious about being on the other side of the camera and couldn't wait to get away and let someone else have a go at being a model!  Still lots to do and try!

Exhibit A

Exhibit B

Exhibit C

PLATON

Platon is hands down my favorite portrait photographer. He is consistent at getting the right look to suit his subjects and while projecting his own mark on them still allows their huge personalities to shine through whether they are political/industrial world leaders or famous Hollywood actors/directors.

Always favoring either a low placed camera position looking up at his subject or right in their face he creates a feeling of submission like they are about to pounce on him. Those who have what appear to be much happier personas are caught in an equally positive split second,like they are center stage at a TED talk about to give that killer line of life advice "If I could tell you one thing today that could change your life for the better,it would be this.."

Twitter - Facebook - Pinterest - Microsoft creators etc.

He shows much confidence when talking about his work and understands the manipulation that can then follow one of his cheekier portraits. He gets the world he operates in and our need to humanise the images we see of the famous. Rarely do you see any other elements in his images other than the subject but when he does it is only added to truly compliment rather than distract from the main event,the subject

Some of the best from Platons own site

A selection from his book of world leaders "Power"

And finally,everyone is entitled to one bad day at the office..

Five, Basic light set ups

I found these light illustrations on sekonic.com, they are very similar to the set up we used for our shoots apart from the fill light and the hair light. Ok so that would mean they are quite a lot different from what we used but i would argue its better to have a little more in the bag to go to later. After all the KEY light is the one we are most concerned with  and this does show it in 5 different positions. Also shown are  the camera (and possible extra light) positions.

The lights were moved around a lot during our studio time as i found not every type of set up worked with every subject. It seemed to become more about trying to create a mood with the light rather than capturing the personality of the subject.

Also worth knowing that these cover the whole area that could be used and I found I used mostly between the Butterfly and Loop set ups but just moved slightly for the subject size and posture. Missing from the drawings are the large black polystyrene boards that were placed each side of the subject to absorb reflected light,I used them on every shoot. 

Paramount/Butterfly Lighting

With the key light shining straight down on the subjects face,this casts a small shadow underneath the nose and a larger one under the chin if no fill light is used. Quite a complimentary lighting set up if your going for that kind of look. 

Loop Lighting

The light is lower down than before and offset to one side slightly to highlight one side of the face slightly more than the other. Good to bring out feature and gives a slight profile of shadow down the far side of the nose and cheek.

Rembrandt Lighting

Quite similar to the loop setup only harsher,or stronger if you like. Used to create a more dramatic look to the portrait and as the name suggests will give a similar look used in portrait painting techniques. Should provide a large shadow for much of the nose and face with a small triangle of light on the far cheek.I think it works best with the rest of the subject is quite dark,not so much for me when lit up.

Split Lighting

I only tried this a couple of times as it seems to be very severe and as such only lends itself in my eyes to such a portrait. If all else had failed (or you had what you were after and experimenting!) to get the shot i was looking for then It could be something to look at. Splits the face in half without a fill light making for high drama more suited to an atmospheric fashion shoot.

Profile Lighting

I purposely stayed away from using this too much too,not that i dont like it as i do. I think i will be revisiting a set up like this soon for another project I have in mind only minus the back light. This changes the dynamics of the subject hugely and veered too far away from the brief to be used here. 

Studio lighting systems

All of the shoots for this assignment have been done in a studio with either a plain white ramp or black paper back drop. The lighting to accompany has come from a very basic set of studio lights with a few different attachments for different effects, a soft box to give a more even softer light for example.

Usually mains powered either through a transformer type power pack or directly into the back of the body unit of the light with a continuous fashion light and a strobe that fires when the shutter is released on the camera.  My own lighting set up is 2 nikon flash's that can be used on camera as well as the same way as these studio lights,benefit of the studio lights is although they are not as portable,having the illumination from the fashion lights on pre shot does help to compose your subject much better and saves the guess work when arranging the lights.

Images from Bowens other lighting systems are available..

Bowens Gemini standard studio light

As can been seen on the side of the unit, it can be easily adjusted and its clear to see what level its working at..which is nice. Can be conected either via a cable or remote to the camera to trigger the flash

Large Portraits Soft Box

I used this in one of my sessions in the studio,It really helps to bring out peoples eyes and leaves a quite distinct  reflection if left in the shot. Very soft even lighting and not suitable for going for high contrast and strong shadows.

Basic large Reflector

The exact opposite of the softbox in terms of harshness,there is nothing between the strobe and the subject to break up the light so it casts a good shadow if needed. Similar in distribution though and not as directional as others below.

Little reflector,barn doors and snoot attachment

This is where your looking if you want to bring the light in a focused direction on the subject,whether its dropping off the background in darkness or highlighting just a part these will help. Like the bigger reflector shadows can be seen so a reflector board can be used for fill light,

Finally the beauty dish,which is probably my favorite from the portrait shoots that we have done for this assignment,its quite forgiving and makes any subject look good being the best of both worlds of the soft box and the reflector. Add that the nice round reflection in the eyes when caught 

Hasselblad

An iconic brand for even those who are not directly linked to photography in more ways than one. From being used a symbol of real and professional fashion photography in studios to being used by NASA in space to take images of the Moon and Earth. Could there be a more important use of a camera?

The Hasselblad camera - history(click for source)

Photography expeditions in search of rare birds in his native Sweden started Victor Hasselblad's quest to invent an ideal camera. At the time, in the 1920s and 30s, cameras capable of making detailed images on film were cumbersome.

Experiments with a Graflex camera produced a book on migratory birds in 1933, an event which established Hasselblad's reputation as an expert pioneering bird photographer. When World War II engulfed Europe, the Swedish Air Force commissioned Victor to produce cameras for aerial reconnaissance. The resulting modular HK aerial cameras were revolutionary but the pragmatic Swede wanted to make a civilian camera.

In New York in October 1948, Hasselblad and his chief engineer and designer Einar Cronholm, presented the world's first 6X6cm single lens reflex camera with interchangeable lenses, film magazines and viewfinders. The first 1600F camera was hailed as a 'timeless beauty' and the Hasselblad legend was born.

Ten years later, the classic Hasselblad 500C with leaf shuttered Compur lenses was launched and since, the 500 series, including the 500CM, 501C, 503CX, 503CXi, 500 Classic and 500CW have all retained the original 1600F modular concept with improvements to light baffling, shutter release and light meter accessory viewfinders. An electric motorised version of the 500 was launched in 1965 as the Hasselblad 500EL with updated models such as the 500 ELM, ELX and ELD gradually being introduced.

The 1954 Hasselblad Supreme Wide Angle camera was fitted with a specially designed Carl Zeiss Biogon f/4.5 38mm non distorting lens for architectural photography. The 903SWC and 905SWC are modern versions of this camera. 

A new range of Hasselblad 2000 series focal plane shuttered slrs was launched in 1977. The 2000FCM, 2000FCW, 2003FCW were forerunners of the state-of-the-art 205TCC and FCC launched in 1991 and 1995. Later 201F and 203FE models evolved from the earlier cameras.

Hasselblad cameras have been used in every NASA manned space mission since 1962, capturing some of the finest and most fascinating photographs ever made. Thirty specially modified Hasselblad 203FE cameras were delivered to NASA in 1997.

The company also produced the FlexBody, emulating movements found on larger view cameras. It was followed by the ArcBody in 1997. Many accessories and lenses as well as special models for scientific, military, surveillance, aerial and mapping use make the Hasselblad the most comprehensive medium format system camera in the world with almost all accessories old and new compatible across the body range.

The 35mm Hasselblad X-Pan film camera was the result of a partnership with Fuji Film launched for panoramic format enthusiasts. The camera was discontinued in 2006 but used samples can still be found for sale. Hasselblad's main products today are its medium format HD digital cameras with high resolution CCD sensors and interchangeable lenses although it still produces a digital back for the Hasselblad V system (500 series) cameras.

Hasselblad with Digital Phase One Back 

Hasslblad with Carl Zeiss Lens and Film Back

Deconstructed Hassleblad/Film Back and Viewfinder 

Although for this assignment we have been using a digital back cropped sensor unit on the Hasselblad the same camera body can house a traditional film which produces a square medium format negative. A blanking slide can be used across the back in order to swap over the type of film being used ei going from a black and white to colour without exposing the film to light. 

There is a great sense of connection with a Hasselblad unique to its feel and the way it is looked at from above as apposed to DSLR. There is very much a mechanical nature to the winding on process which slows the photographer down and makes taking images a more thoughtful and rewarding experience. Every part of the design from the pressured shutter release to the connecting joints feel like an ergonomic miracle considering how long ago it was designed and what was around before it.