SEMESTER TWO 2010 - Workshop #1

Workshop #1 - PORTRAIT SCENARIOS

#1 - You need to create a backlit portrait - almost a silhouette utilising rim lighting. You can only use one tungsten flood light, but the background must not be plain.

#2 - You are photographing a Wall Street CEO whose large investment company has just failed. He still got his $1.5bn bonus though. This is for the front cover of Bulletin Magazine. Remember to allow for the title and cover text.

#3 - You must produce a campaign photograph of a newly arrived Prime Minister who wants to win the upcoming election. The PM wants to project an image of strength and compassion, and the ability to move forward.

Glass - 1st Attempt at Dark Field

I went for a very minimalist approach here with just having the glass lit on the rim & highlights bouncing of the inside surface demonstrating control with my lighting. I shot with one flash flagging majority of the glass off just having the flash highlight the essential detail areas to show form & some texture. Im really happy with the result as boring as it may seem to some! It is exactly what I was aiming for from the beginning & I knocked it over quite quickly which surprised me a little too! One of the very few captures that turned out exactly how I envisioned.

I may reshoot just to experiment with a whole subject but these images are two I've been happiest with out of all my folios! Simple & straight to the point... Well in my eyes anyway! - Some may think otherwise...

2nd Chrome Attempt

Im a lot happier with this second chrome attempt than my first although, I will be reshooting to attempt to bring out more detail through the shadows & perfect the overall approach.

1st Chrome Attempt

Bit plain & boring... With all its little holes etc. Id have to have a lil more time on my hands to experiment with an outcome for this subject. That I will do at a later stage, in my own time, away from folios. I think I might concentrate on the bonnet ornament

Glass - 1st Attempt at Light Field

Im not sure Im 100% happy with these results although, I thought I would have done a lot worse. After getting the lighting right & taking a plain "stock photo" type shot, I began to experiment with lighting techniques to make the image a little more interesting. I was going for a mood approach, patterns you may see when in a cocktail lounge, disco light effects... So this is what I came up with after finding a bread create... I think I may reshoot & see if I can dial a really neat shot & again experiment with different lighting? - We'll see...

Workshop - Deep Etching

Techniques

• Even illumination
• Background being lit without effecting light bleed onto subject

*excuse my dodgey photoshop diagram*

Chrome Ideas

I have a chrome bonnet ornament off a 1953 Holden FJ which I aim to photograph, again keeping a simple approach - really wanting to bring its shape & form out. I also have a rear tail light surround that I want to experiment with too. Both have just been re-chromed so they should be perfect for the excerise.

I also have 3 matching chrome tea light holders I want to experiment with. I plan on exploring pattern & reflections, referencing from the image above (very similar shape to the tea light holders) & the images below (pattern & composition ideas)

Candle Holders

http://www.redcandy.co.uk/candelabras-and-candle-holders.php

Bonnet Ornament

http://www.jpgmag.com/people/kyler1999/photos/page12?sort_criteria=newest

Glass Ideas

I aim to include

• Simplicity
• Use of reflections
• Experiment with pouring techniques as well as still liquids
• Use of small but effective props (ie. Fruit, Ice etc.)

Workshop #7 - Large Format Camera Movements

Sinar with digital back

This is the single shot image. We used a fair bit of movement to get to the final result.
Front:
Shift - 2.5 right
lowered - 1.4
Swing - 0.1 left
Back:
Raised - 4
Shift - 1.2 right

From these movements we were able to get the focal plane to run from the bottom left of the black label box to the top left of the same box and then to the top left of the bisquit box. This allowed us to get the front of both boxes in focus. We also used rise to get the lines on the box parallel.

This is the 4 shot image using the same settings as above. I zoomed both images to 100% and compared them and I am yet to find any difference. Maybe it needs finer lines or more greyscale artwork until you can pick the difference clearly. From the images we saw in class there were definite advantages to the 4 shot method by capturing each pixel in 4 colours (two of which are green) but these images do not display any differences.

Medium Format - Hasselblad with tilt shift adaptor

This image is shot with all movements zeroed. As you can see there is a sharp zone running paralel to the angle of view and the entire page is not in focus.

With this image we used a scheimpflug to lay the focal plane over the page making the whole thing in focus. We used about 10 degrees of downward tilt and rotated the tilt shift adaptor 45 degrees to clockwise. You can see a vignette at the top of the image caused by using maximum tilt.

For this one we wanted his eyes and a line of text immediately opposite him to be in focus with everything else falling out of focus. To achieve this we needed the focal plane perpendicular to this area. Using maximum upward shift ie. 10 degrees, we were able to get an apparent shortening of depth of field we were after but now needed it to rotate in line with the page, or text as it were. By rotating the adapter 90 degrees clockwise the focal plane was now perpendicular to the eyes and the line of text.

SLR - 5d Mark II with canon tilt shift adaptor

For this image I was the subject. We shot with the tilt shift at max shift (13degrees) making the plane of focus as close to perpendicular to my eyes that we could which threw everything else out of focus.

For this one we aimed the focal plane on a diagonal line perpendicular to the face running from the left chin to the right eye. We rotated the tilt shift lens 45 degrees to the left and used max tilt of 13 degrees.
It was very apparent the limitations of this tilt shift compared to both the Hasselblad tilt shift and the movements available on the large format Sinar.

Workshop #6 - Close Up Photography

This workshop involved working close up with objects, learning the appropriate equations behind the calculations to then get a particular result in size ratio.

Due to faulty & unavailable equipment & time restriction after interruption of a fire drill we were only able to complete one of the set tasks being that of photographing a postage stamp at a scale of 1:1 life size.

Magnification Factor : m 1x or 1:1

Camera: Canon 5d

Sensor Size: 36 x 24mm

Lens Focal Length: 24 - 105mm (Zoomed to 50mm)

ISO Rating: 200

Extension tube: 50mm

Focal distance: v = v - f (1+1) 50 = 100

Bellows extension = v - f 100 - 50 = 50

Bellows extension factor

BF = (v/f)2 (100/50)2 = 4

= no. of stops increase 2 stops

Incident grey card reading: f8 @ 125th

Adjusted exposure: f4 @ 125th

SEMESTER ONE 2010 - Workshop #4 & #5

Workshop #4 - Glassware

Being lucky enough to have had Steve Lovegrove in as a guest speaker today, I feel I really benefited from todays workshop. Specialising in photographing glassware, Steve was able to show some helpful tips such as;

- creating a diffused surface for backlight on the back of a liquid filled glass by masking off the rear half & spraying it with adhesive.

- using a spirit level to make sure your liquid filled subject is level for desirable results.

- instead of having to keep interfering with your set, syphoning enough liquid from the glass to enable an un flattened top up with desirable head in the beer is a less painful way of handling the shoot.

- cut out a near enough copy of the beer bottles shape, cover in foil to aid in making liquid transparent, backlighting the liquid more naturally

- accompany that backlighting with silicone spray on the front of the bottle, then when dry follow by spraying Evian spring water mist to create a cold frost water beading effect which again diffuses all light reaching the inside of the bottle

- use nail polish remover for any expiry dates interfering with front labeling etc.

Our images are un-polished & under the lack of time & having missed out on getting in quick - being left with minimal equipment, these can be looked at as stepping stones to a desired result of an un-edited final shot.

Light Field Illumination

Dark Field Illumination

Workshop #5 - Chrome & Shiny Objects

This was quite a challenge!

My subject (duck - money box) was particularly difficult due to the many different grooves & shapes that make its form.

Mels subject (hairspray) we tried shooting from a low angle to tie in with its brand (Skyscraper)

I think we did well with both subjects seeing as we were very limited with time

If we were to shoot with full commitment to these subjects I think we'd get there with a little experimentation.

SEMESTER ONE 2010 - Workshop #3

Introduction to Hasselblads

Never having even held nor used a Hasselblad before, this task was quite daunting. So, Using the new digital hasselblad cameras we worked with tethered capture in the hassleblad's Phocus software. The set task was to approach two portraits (one full length & one head & shoulders) with a CEO of a particular industry in mind. Working with Joselyn Eling & Anthea Clarke we came up with the idea of someone involved within a gallery or similar.

For our portrait orientation we used Anthea, having her act as if she was an exhibitor. We attempted a full body shot but with minimal time, room & competing with her height we were not able to position the camera to get the ideal composition we wanted. Working as a group there seems to be much competitive talk of how an image should be composed, this we did run into. In the end not so much focusing of technique (exposure & composition could have been tweaked). Though this was our end result. Whilst exporting the software corrupted the image but it still gives an idea of our approach.

Our landscape orientation (double page spread) I was the subject, acting as an information guide type. When I think of an artsy information guide they're always whacky & unusual, as per the expression I had on my face. If I was to be composing the image myself I would have have the background frame more to the left of me to give impression that was what was being provided in the way of giving the viewer a taste of what my gallery provided.

SEMESTER ONE 2010 - Workshop #2

Product - (Revision)

This week's workshop involved shooting a product in tethered capture mode. My product was a box of flavored drinking straws. I kept my props simple working from the character & its values on the box itself. I did have a lot of technical faults in my result but to be honest I did only shoot it in literally 2 minutes (including setup) as I was working in a group of 3 & the first two girls had major hassles with their lighting taking up an hour & a half of our time.

Despite all of that, this is my result...

I went for a very simple approach in shooting my product. I made a daylight attempt with tungsten lighting. I think I achieved quite a desirable result through the grass, though not so desirable anywhere else. I used 1 light & reflected it onto the box to try & have that best lit to draw the eye into the product.

If I had have taken more time & caution with what I was trying to achieve I would have avoided the massive reflection on the box itself, more light through the background & more evenly lit, a tighter composition & maybe a few more simple props.

SEMESTER ONE 2010 - Workshop #1

Portraits - (Revision)

As a group we were required to creatively plan out 3 individual portraits. Working with Dan & Mel I chose to base the portrait Id be taking around a corporate style shoot Id done through work in the recent break. Using Mel as my model I wanted to emphasis the focal point of her face through the image but at the same time keep the image very simple. I shot the portrait in a head & shoulders composition with the background lit using a snooted spotlight right behind her head, rim lighting through her hair to avoid her disappearing into the background & lit her face & body evenly with one softbox.

This is the result of my styled lighting portrait...

A few things if shot again Id like to really improve on are

- Obviously the reflection on her glasses

I think I can achieve that by heightening the lighting source to avoid direct flash reflection

- Possible slight repositioning of the subjects pose

Not shooting straight head on, having the shoulders slightly turned away with new positioning on the gaze towards the camera, achieving a slightly more flattering composure of the subjects face.

- Hair light positioned slightly higher

Resulting in more coverage of the hair bringing more separation of the subject from the background.

- Different direction of background spotlight

Experiment with direction & possibly few different colored gels for a more subtle effect.

I also shot Mel without her glasses for a more natural candid shot

Here is an edited version... Obviously Ive gone against a lot of technical ethics but Im quite pleased with my muck around result.

I know, I know... I've lost a lot of detail in the highlights & shadows due to going for a higher contrast approach. Also the skin tones may be a little uneven with the face seeming a little blown out & the background spotlight is also uneven. All things picked out I would obviously pay extra attention to detail in the future.