One to one studio kit with Rebecca

This came in handy for when I took studio/wedding shots of Tahila. Rebecca showed us how to set up the studio kit.

Form
I only used a key light and a fill with umbrella reflector light in the movie-imaging studio. Props are umbrella and bouquet. Both landscape and portrait.

Content
To produce images with soft lighting on the models face.

Context
I wanted to capture the bride at different vantage points to exaggerate the close ups and focus more on her face.

Digital-Studio

Even though I have missed out on the class at King Studio. I decided to use the studio at M.I.T. To follow up on my vantage point and studio.

I really like Val's style of using low/high vantage point and he has used this in studio, which I thought I will try and achieve for my follow ups.

Form

• I used a studio kit in the movie imaging studio and applying my follow ups from my failures from Maraetai. 
• I had a wedding dress which was lent out to me by announcing it on facebook. 
• It was going to cost me up to $200 dollars to get the models dress to get drycleaned, so I contacted my mum who knows a lot about fabrics and she said to hand wash it in bathtub, drip dry it and iron it on low heat.

Content what is the subject of the matter?
My focus was to take into consideration the low/high vantage point,  hand placement and the models body position.

• By taking the model's picture at a low vantage point I wanted to create a more exaggeration, by doing this I thought it would add interest to what a low vantage point would look like.
• High vantage point I wanted to convey a different angle of a birds eye view. Having the model look up at the camera so her eyes widen. 

Context
My images are studio based, I seem to be drawn to high and low vantage point only because it creates a different feel to an image rather than taking all my pictures just a eye level all the time.

It's about moving out of my comfort zone from just taking plain Jane eye level pictures and finding out a bit more about myself on what I'm capable of.


Different Vantage points for my next photo shoot.
by Val San Diego

by Val San Diego

by Susie Popata

















by Val San Diego

by Susie Popata

by Adolf de Meyer

by Susie Popata

by Val San Diego



















by Susie Popata

Digital 2

Natasha Cantwell










Form
Natasha likes to use medium format camera by using film and then scanning her images to send both file and her films to her clients.

Content
She likes to use geeky nerdy models making them look like they have no make up on, and creating realistic atmosphere and a retro style to her images.

Context
Who is Natasha Cantwell?
She is New Zealand's well known freelance/fashion photographer.

Natasha is a fashion photographer for Frankie magazine, No magazine and Madame Hawk magazine  and she is recognised for her style of taking photo's of nerdy geeky people, which has given her a hallmark of Frankie magazine.

 She is from New Zealand, but travels internationally.
Natasha has graduated with a bachelor of graphic design in 2001at Auckland University of Technology.

Portfolio week 3

Class discussion on Photo

• A strong rule of thirds
• Repetitious with lines, ripples and clouds
• Texture of two earth elements such as water and wood - (juxtaposition).
• White representing purity, virtuous woman, cleanliness, light and innocence.

Portfolio

Pitch

Top wedding Photographer's

Adolf de Meyer
Val San Diego
Lee Morris

I like Adolf de Meyer from 1930's for his portraiture photos, in which I am hoping to achieve.
I also like the Val San Diego and Lee Morris who are contemporary photographer.

Week 2 Tuesday

take shots of a bride on her own

week 4 Tuesday

take shots of bride in studio, and try to apply Adolf de Meyer and Val San Diego style.

Must remember - Hands and body position on 45 degree angle
Val San Diego - Vantage Points - Studio
Adolf de Meyer - Portraiture - Studio

Week 4 Friday

Bride follow-ups of failures from Maraetai

Week 5

Bride and groom.

Week 6

Follow-ups from week 4 and week 5 and organise for fake ceremony.

Week 7

Finishing off presentations.

Digital 2

Shigeyuki Kihara

As a class discussion we came to the conclusion that Shigeyuki Kihara of

Form
Materials/tools that were used

Deep dof
Lines and pattern (backdrop)
Texture (backdrop) weaved mat
Fore, mid and background
Studio but it gives us a perception of it being somewhere else. (Samoa)
Composition is central
Film camera


Content
Cliches of The Dusky Maiden or The South sea belle, but artist is taking the mickey out of what a Dusky Maiden.

• Sex
• Transgender construction
• Samoan Cultural aspect

Context

The self portrait of herself, was to target a certain group of people that had a sexual desire for the dusky maiden. Shigeyuki Kihara wanted to mock this group of people by showing what you see is what you get as a samoan transgender and this is her identity as a samoan fa'afafine. 

Follow up and correction on self-direct for Maraetai photo.


Under/overexposed

I have come to the conclusion that I needed to brighten up Lorryns face by using more power from the flash.

And turn the aperture right down to get more of a theatrical feel in the background of the clouds.









I used a speedlite and used the under/overexpose technique to get a more dramatic background.











Making sure I have model on a 45 degree angle to avoid shoulder shortening.

Placing a reflector on the other side of model helps with a balance lighting

Taking a change with different levels of vantage points

Making sure my models hands are not awkward and no hands or fingers cut off.

Body position, no squatting and distracting background.













mission complete......

Self Direct-fashion photographer

Adolf de Meyer
by George Hoyningen-Huene
1934
Gelatin silver printed

Adolf de Meyer quotes: “It is always better to hear people say: ‘What a lovely woman!’ rather than ‘What a gorgeous gown!’ "

I have found a canonised photographer by the name of Adolf de Meyer from Paris. Vogue and Harper Bazar used his photography for the fashion world.


Along with Adolf de Meyer in fashion photography was Horst P. Horst and George Hoyningen-Huene.

Horst P. Horst
by Cecil Beaton
1948
Gelatin silver print

George Hoyningen-Huene
by Cecil Beaton
Gelatin silver printed
1934










Form

• I have come to believe that Adolf likes the use studio work and apply back-lights behind his models or subjects.  To my attention of the rainy wedding day I could use this technique having a bride and groom outside while its raining with a back-light behind them or either just using an umbrella in the picture. 
• Most of Adolf's photographs appear to be in a studio. 
• He uses props, such as plant stands, umbrella's, models and wedding dresses. 

Content 
This image of the model holding the umbrella has given me ideas to try and achieve this at some stage by having a backlight behind subject with rain and just using the umbrella as a prop in studio work as well.

Adolf's images was quite scrupulous to detail. His models, props and costumes at that time were constructed for at that the 'fashionable magazines' such as Vogue, and Harper Bazar. Adolf had a knack for making his models look natural and comfortable and showing them off.

What I don't like about some of his pictures, they seem too staged and traditional. However, what I do like about them is the body positions of his models and the hand placement of some of his models.

Even though Adolf prefers to use studio photography, my aim is to provide pictures by using natural light, outside work.

Context
How would this relate to me?
I love Adolf's quote
“It is always better to hear people say: ‘What a lovely woman!’ rather than ‘What a gorgeous gown!’ "

To me this quote is about making the bride on her wedding day look and feel beautiful and recording a special moment for her. 

Experimentation-self direct at Maraetai

Form

I have to say that Tuesday was a very productive day for self direct. The wedding photographs I am really happy with, but in saying that I have to put up my failures as well.


What's working?

• With this image I was trying to achieve a under/over exposure. I used my built-in-flash and turn my f-stops down, at first I didn't think I could pull this off with what I didn't have. Which was no light metre and no shoe flash. I will use this technique again if I have to, only because the lighting has left no harsh shadows on her face.
• I have applied the rule of thirds to take advantage of what is around the her. 

 What's not working?

• The flash light not quite reaching the distance on the bride to brighten up her face a bit more.

What would I do differently for next time?

• Use a light metre and SB-800/SB-900 to give a bit more of a theatrical background of the clouds. Bringing the f-stop down more and the brides face lightened by the flash a bit more.

What's working?

• The lighting was perfect, it was late avo and the sunlight was hitting the bride's face.
•  I took this under the wharf to capture the pillars and the blueness of the water. 
• I used a tight composition on the bride to bring an intimacy feel to the image by capturing her expressions while her feet are in the water.

What's not working?

• The only thing that I didn't realise till I got back home to check my photos. Is the shadowing behind her. 
• Pole sticking out of her head. 
• Her far shoulder is shortened.

What would I do differently for next time?

• Use a reflector to lighten up her back and side of her face.
• Avoid poles sticking out of her head.
• Have bride on a 45 degree angle and get her to drop her front shoulder.

What's working?

• high vantage point
• front shoulder is dropped
• she's on a 45 degree angle
• one hand focal point showing ring.

What's not working

• white shells in background are distracting.
• cropping off the rest of her backside
• squatting position.
• two hands
• lack of light

What would I do differently next time?

• Practice more with positioning of hands and sitting positions
• bring a flash and reflector

What's working?

• Shoulder dropped in front and at 45 degree angle
• The pillars in the background.
• Sunlight as a keylight.

What's not working?

• Use a reflector on the shadow side of model
• Slightly over exposuref. Too much contrast on her dress.

What should I do differently next time?

• use a reflector on the model
•  down one f-stop and speed up shutter speed.

What's working?

• Rule of thirds vertically and horizontally
• Position of model looking down

What's not working?

• dress and her skin is too over exposed

What should I do differently next time?

• drop the f-stop
• have model looking at camera

Failures
What I need to do to improve on these photos?  
I need to take a reflector, to fill in the shadow and bring the bride to a bit more light.  Also change the vantage point abit more.