Thursday, 11 December 2014

The Studio Portrait - Photo Shoot 3 Evaluation

With inspiration from photographer Edward Jean Steichen's (Gloria Swanson, 1924
Edward Steichen - In High Fashion, the Condé Nast Years), I came up with the idea of using a veil like type of fabric between the sitter and the camera. The sitter in the photo shoot is one of my good friends, Chelsea and I decided with her what clothing she would be wearing for the photo shoot. A cross necklace she owned, I decided I wanted her to wear in the photo shoot along with the veil. With the veil, I was sure to make sure the detailed pattern fell on the sitters cheek bone, enabling the viewers to see the sitters eyes through the fabric.

To shoot the photographs I used a Hasselblad on the tripod and tethered this up to Capture One. I set up the colour setting by hand as I didn't have a grey card that would allow automatic colour setting to be made. I usually find the focussing fairly easy to adjust, but found that I couldn't focus on close up's on the face. I found through experimentation, there needs to be around a meter between the camera and sitter for the camera to focus.
 
Below are the contact sheets from the photo shoot:


Photo Shoot 3

Photo Shoot 3
 
This was the lighting set up that I created, I found this the most successful out of all the photo shoots I have captured in the studio. Using the beauty dish and two reflectors allowed the lighting to bounce well off the sitters face, with the beauty dish giving the sitters skin a soft effect.
 
 

Studio Set Up

Studio set up

These are just three of the photographs from the photo shoot that I liked the most, based on the angle, lighting and use of the veil. Overall, from this photo shoot I'm going to use the same lighting set up as this was the most successful. I'm also going to stick with the theme I have going on in these photographs to make my overall final portraits flow and go together.




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