Thanks, Christine!
I've taken some black and white shots there that did come out pretty
nicely -- though, I hadn't given much thought to the shots before I took
them.
http://picasaweb.google.com/lh/photo/LESD6x_6JR5Qb-5ZOJgN5Q?feat=directlink
http://picasaweb.google.com/lh/photo/R5n8jrwualFg4u6_daBcMQ?feat=directlink
http://picasaweb.google.com/lh/photo/KuNetXRDcjdDM7kwo-BSAQ?feat=directlink
http://picasaweb.google.com/lh/photo/0Bo0oCM86zcneNXKl4AuJw?feat=directlink
http://picasaweb.google.com/lh/photo/jBOhLp9_SbcrVOyawgOpQA?feat=directlink
http://picasaweb.google.com/lh/photo/3i05f6Wki95YrkI8yrm3VQ?feat=directlink
I just happened to have my camera with me when I dropped by to help him
upload some videos to YouTube. (He's currently in discussions with the
Discovery Channel about doing a segment on the Christmas trees he builds.)
I'm sure he'll be OK with moving the furniture around, though he's
guaranteed to go around putting everything "precisely" where it was
after I'm finished. I moved a saddle rest for a couple of shots
yesterday and put it back where I thought it was. Of course, he
couldn't help "fine tuning" it when he just happened to walk past it
again. He's just one of those guys.
Thanks for the tip on the posterboard. I can grab that while I'm out
this evening.
Best,
Walt
On 10/13/2010 1:30 PM, Christine Nielsen wrote:
I bet you could get some really interesting images at that location.
I'd be thinking about how to use that zebra rug...! As colorful as
the studio is, I think it would look amazing in black& white.
Looks like there are some good-sized windows in there. As long as
it's ok with your studio-owner friend, I wouldn't be shy about moving
the furniture around a bit to take advantage of the natural light,
wherever it's landing. Custom white balance (or use a gray card) is
your friend here, too. Especially with a mix of lighting sources and
yellow cast... and the mixture could change, depending on where you
are in the room, so you may have to customize more than once. I would
also consider bringing some kind of reflector (posterboard or foam
core works), to bounce natural light back onto your model as fill.
That might help minimize the red/yellow cast, too.
Good luck!
-c
On Wed, Oct 13, 2010 at 12:29 PM, Walter Gilbert<[email protected]> wrote:
Hi all,
[Insert standard caveats regarding utter lack of experience, here.]
I've managed to get a young former co-worker to agree to pose for me in
order to get some experience taking photos of human subjects. She's
actually eager to do so, which is nice. But, given the fact that I've not
done this before, I figured I'd get some tips from folks who have more
experience that I do -- which would be any at all.
I've arranged to do the shoot at a friend of mine's studio, where he creates
western/cowboy art, tomorrow. The studio is, of course, a setting where
that sort of thing would fit in -- i.e., the floors are oak and there's
yellow pine on the walls and ceilings. There's not a whole lot of
artificial light -- mostly ambient, and some very dim light from chandeliers
that he's created. And, obviously, I don't have anything in the way of
studio lighting to take with me.
I'm planning on doing the shoot in the afternoon, when there will be plenty
of available light, but I'm wondering if anyone has any ideas on how to get
the best results for skin tones in an atmosphere that's going to be highly
saturated in reds and yellows. (I'm obviously going to do some B&W work,
too.)
Anyway, here's a small gallery of some images from the studio:
http://picasaweb.google.com/Ldotters/MacPhailSStudio?feat=directlink
Any tips on how to get the most out of the shoot would be very much
appreciated. I've already let the model know to be sure and bring several
outfits and and makeup, and described the room (yellow pine, etc.) Anything
else I should keep in mind (aside from the standard cautions regarding model
releases)?
Thanks!
Walt
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