CAPTURE (draft) by Helen Jessica

CAPTURE DRAFT

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NOTES\\ FROM THE AUTHOR. \\ISSUE one of Capture is a chronological

presentation and discussion of the first shoots undertaken for the yet untitled project being

produced for Module PHOS330:Photography Final Major Project Portfolio within the Marine and

Natural History Photography course at Falmouth

University.

Within this Issue all aspects of the shoots

will be discussed including, location, set up, technical decisions and equipment. The main part of this issue will however focus on the images being captured,

with the best from each shoot being highlighted and

critiqued and any Post-production being explained and evaluated.

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SHOOT ONE\\ Portraiture LOCATION\\ Studio 5 DATE\\ January 2014

\\For me starting a project is normally the hardest part,

so to get the ball rolling I decided to attempt my first studio based portraiture shoot.

One of the main things I want to achieve in this portfolio

is to widen my photographic range and attempt techniques and styles I have never tried before and I decided to start

with portraiture. The theme of mans relationships or lack

of relationship with the natural world has been one that has

always run through my work, so I have decided to first focus on

photographing people to the best of my abilities and see where it takes me.

For this first shoot I wanted to just focus on lighting the

face of my model and achieving a very even lighting across the

face and a plain white background. For this I used the small studio 5 area with the white backdrop. I used three flash heads during

the shoot, two at either side of the model with medium sized soft boxes, with the right hand side one set slightly brighter than the left one. The third light was positioned behind directed at the

backdrop; it was fitted with the spill head and was used to give the backdrop a even brightness.

DRAW AND SCAN IN STUDIO LAYOUT

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\\Here is a selection of the different composition I got my model to do for me during this shoot. They range from simple

clean head shoots to incorporating the arms and movement. All these image were taken on a Canon 5D Mrk II using a tripod at a downwards angle, with the model sitting cross legged on the floor and camera point down at 120 - 140â&#x2014;Ś.

\\This first example shows the simple head

\\The second pose I decided to try was to involve in

shot format that was my original aim of the shoot. I wanted

the arms of the model in the composition. I did this in two ways

that is surprisingly difficult to get a model to do. This blank

this would add more interest to the composition, although not

to achieve a blank expressionless look in these images, a look expression and blanket even lighting is very popular at the

current moment in portrait and fashion photography, and is

one I wanted to incorporate. Although the model did not always achieve the blank expression, the slight anger in her eyes also works quite well. My only real issue with this image and the

images similar to this in the batch is the models black straps that can be seen on the shoulders. Unfortunately I was not

aware of this until half way through the shoot. After noticing

I got the model to remove the straps but in the first ones there presences is a slight distraction.

this first example shows the model holding her hair; I thought

bad I do think the plainer pose is more effective and powerful.

I do however like the expression on the model in this particular image, the slightly raise eye brow makes a very intriguing

image. If or when I shoot this again I would ask the model to remove the watch, the bracelets however I like.

\\This image is just one example of something that only

\\This was the last composition, where I have tried to

occurred to me to try when in the studio. T hroughout the shot

incorporate the dress and the arms into the image. Although

was one of the main reasons I decided to shoot this particular

however really like the facial expression and the model looking

I was particularly draw to the texture of the models hair (This person). Although technically these worked well and I managed to freeze the movement of the hair in complete focus, however

a lovely image, to me this is far to fashion-y and clique. I do down, as to me it gives the image a more intimate feel.

with the model focusing on the hair flip, it wasnâ&#x20AC;&#x2122;t possible to get a decent facial expression and as this was my main aim I donâ&#x20AC;&#x2122;t think these work as well as the others.

RESEARCH\\ISSUE 2\\CAPTURE\\2014 \\This image was the first I picked out

from the shoot to do a full edit with. I pick this one for the simple fact that I feel the slight confused expression on the models face makes for a very

thought-provoking image. With this expression and the eye contact that can be achieve between the

viewer and the model, for me this makes the image difficult to look away from. I also think that the

confused expression makes the viewer think more

into the narrative of the image. The lighting on this is very even, which is the look I was trying to achieve, though the left side of the face has a slight burn out that I may decide to remove in post. Overall this

image is one I think I may print and use more in my final product.

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EDITED\\

Airbrush \\In the final edits of these image I have

decided to airbrush the skin of my model in

Photoshop. I did this for two reasons, the first because I wanted minimal distractions in the

image so any skin flaws or blemished needed to

go and second because it’s a technique I wanted to try and perfect as I may come in handy in my future photography.

The airbrushing technique I have used

is a simple but effective one. To begin I decided to start with a subtle skin retouching method that uses the Yellow channel to reduce skin

flaws. I went into the Image menu and changed the colour mode of the image to CMYK. Then

using the channel panel I copied only the Yellow

channel and returned the image to its RGB mode. The next step was to paste that yellow layer onto the image and rename that layer ‘Flaws’. I then inverted this layer and changed the layering

mode to ‘soft light’ and lowered its opacity. This gave the skin a softer flawless appearance. The next and final step is to remove all blemishes. I

did this by copying the base layer and moving it to the top. On this layer I then removed all skin marks and blemishes using the spot heal tool.

The images on this double page spread show this image on each step of the airbrush process and the final result.

RESEARCH\\ISSUE 2\\CAPTURE\\2014 \\For the second part of this first shoot I decided to

\\This second image is one that I am divided on. The

remove the hair texture element so I could focus more on the

light is improved with a more equally blanket lighting, however

variation in these examples like the ones previously shown,

think it works strangely well. The intensity of the eye contact in

lighting of the face and the expressions. There is no massive

however I have picked out this shoots in particular because of

the subtle differences and the effect of these subtle differences. This first image I put in because the light from the left side is

slightly too strong and has created a small amount of burn out on the left hand side of the face.

the expression is not what I was originally after. I do however

this image I think will really draw in the viewerâ&#x20AC;&#x2122;s eye and create a kind of unease. Having the model slightly higher in the frame is also a lot better compositionally.

\\This third example I find very interesting, I wanted

the model to look sideways so that the main focal point of the

image would be her eyes that are a very prominent feature. Like before the expression is the main thing that drew me to this

image, the idea of the model looking out the frame really adds

interest to the image and draws the viewerâ&#x20AC;&#x2122;s eye into the image

and then around the image, as if searching for what the model is

\\This last image is another interesting composition and

like the last one the direction of the gaze of the model though

a powerful aspect. However I feel the model is now to far up in

the frame, but the main issue with this image is the focus is not there, making it a unusable image.

looking at thatâ&#x20AC;&#x2122;s just out of the frame.

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EDITED\\

The Crop \\Although I would prefer to get it

alright in the camera, itâ&#x20AC;&#x2122;s not always possible as composition ideas sometimes will only occur to

me when reviewing the shoot. I thought it might

be an interesting experiment to have the minimal amount of the model in the frame, to maximise

the negative space and to see if itâ&#x20AC;&#x2122;s as effective as

the whole shot. Personally I think by cropping the image to just show the eyes and hair of the model makes for a more aesthetically pleasing and interesting portrait.

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SHOOT TWO\\ Storm LOCATION\\ Portreach&Newquay DATE\\ Febuary 2014W \\This shoot was a bit of a step

away from the direction I was taking my

portfolio, however when a storm hit and the biggest waves you have even seen are set

to hit the north coast of Cornwall it would

be a shame to waste the opportunity. So on

the first Saturday the storm hit, I got myself a Canon Mrk II with the standard lens and a 85mm wide angle lens and took myself off to Portreach and Newquay to try and

capture the power and atmosphere of the storm.

Overall I am not overly impressed

with this shoot outcome as I feel I didnâ&#x20AC;&#x2122;t

capture anything different or interesting. I am also as of yet unsure about how to

incorporate this shoot into my portfolio

idea, except maybe to be used as overlay images.

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\\These two images are I think the best

out of the landscape shots. Although not showing

the storm very well the texture the tide going out had created in the sand is very interesting and

gives the images more depth than just a straight forward image of the waves on the horizon.

These two images were taken at two different

angles, the one to on the facing page shows

mainly the water, whereas the one of this page

shows mainly the sand. Both have a different feel to them, I think personally the water one, where there is a less indefinable between the sand, the sea and the sky.

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SHOOT THREE\\ Laura&Jahnico LOCATION\\ Studio 4 DATE\\ Febuary 2014 \\This shoot is my first attempt at capturing

the separate components I need for my final image ideas. This is also my first attempt at a more

elaborate lighting set up, as before this I had only ever used the studios to light macro subjects and

the occasional portrait, in these small shoots I was only ever working with one or two light heads. In this shoot however I end up using five.

For this shoot, I used Studio 4 at Tremough

Campus which is equipped with 4 Elicrom lights on ceiling mounts and 2 Elicrom lighting heads

with separate stands, a small Manfrotto and floor

stand. I also used three soft boxes, one regular cone head and one snood. To capture the images I used a Mamiya Leaf Credo with a digital back and had

it tethered to capture-one software on the studio

computer system. I also used a large mirror as my main prop and two models.

DRAW AND SCAN IN THE STUDIO LAYOUT

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LIGHTING\\

Getting it Right

\\I started by placing my mirror on the left hand side of

\\This example above shows the effect of the

the set and had it angled towards the camera. I then placed my

composition with only the two front facing soft boxes and

lit my model from the front. I adjusted the angle and strength of

the main one that I tried to eliminate next was the dull and

model in the frame and using two Elicrom heads with soft boxes each until I achieved a blanket light. This result was very basic and didnâ&#x20AC;&#x2122;t show any particular lighting skill. At first I tried to

compensate this by over exposing the image, which was a bad choice.

with the right exposure. There are a lot of issues in this image, shadowed background.

\\To do this I removed the model from the frame and

\\My next problem was when adding the model back into

added a third light to illuminate the backdrop, this took any

the frame; she seemed to be lost in the composition. I managed

possible in the top left of the frame on a high power and with

This light was a single light head with a snood attachment

attempts and alterations, until I finally placed it as high as

a soft box, to create a kind of window light effect. This worked well as it gave the background a more constant white, and

removed some of the shadows created by the mirror. I also

added a floor light to the back right corner of the frame to both illuminate the back bottom area and to try and remove, using light, the numerous marks left on the white backdrop left by

to combat this by adding my fifth and final light into the mix. at a low power from shining at the model from behind. This

backlighting effect although subtle makes the model stand out

a surprisingly large amount from the background. With all five

lights at the right angle I think I have achieved a lighting that is both effective and professional looking.

previous users of the studio.

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EDIT\\

Cleaning it Up

\\Although I choose to shoot this in the

studio because I wanted a clean white background

for my image for two reasons. One; because I didnâ&#x20AC;&#x2122;t want anything in the background that maybe

distracting, and two; because I thought plain white areas would make any extreme post-production easier. However as the studio is used by many

different photographers for many different shoots,

the white backdrop in there is no longer completely white. I tried to combat this mainly in the studio using the lighting to illuminate the backdrop

enough to burn out the marks, this worked for the

most part but some marks needed removing in post. I removed the marks on the backdrop, but

simply using the spot heal tool on Photoshop. The area that caused the most problem however was

the reflection. This mark, caused by the reflector I placed behind the model to create a white

background. This reflector however had a black

band around it, which I needed to remove in Post. I removed this by lassoing the area and filling it

with the content aware tool. This works to a certain amount, however itâ&#x20AC;&#x2122;s not a clean fill and I needed to use the clone tool to tidy it up.

The two images below although different

images, the left has no post-production and the right shows the effect of the techniques listed.

Although not a major edit, it does create a cleaner

image. I think if I do decided to continue down this root I will have to ask the studio technicians if I can change the white backdrop roll, as it would condense the amount of post my images need.

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REFLECTION\\

Angle&Expression

\\After I had the shot I wanted of the

model in front of the mirror, I devoted the second half of the shoot to trying to capture the models reflection. This didn’t for see as a challenge as I

didn’t think I’d need to change my lighting. This however was not the case.

The main challenge with this part of the

shoot was getting the angle right. This involved a

lot of dialog between me and the model to get the

position right. I also needed to adjust the lighting so that with my model in the new position she

was still equally covered by the soft box lights.

Also with this shoot the expression on the models face was an important factor, as it will be the

expression that hints the viewer towards the

desired narrative of the images. We first tried different body postures, which didn’t seem to

be the way to go. So then I decided to change the models eye line, and have her gaze in different directions, which seemed to work better. I am

not sure I have achieved the desired expression in this shoot, as I think the model fall a bit flat.

This is something I will need to work on in future shoots, as I think the main problem was my lack of confidence when instructing the model on

what I wanted. My problem with directing is one of the main issues I need to overcome to make these images work.

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PHOT STUDI

TO OF IO SET

SHOOT FOUR\\ Hannah&Nicky LOCATION\\ Studio 4 DATE\\ Febuary 2014 \\This shoot is simply a repeat of shoot three; I

am using the same lighting, though I have tweaked some areas and have experimented with the strength settings of each flash head. I am with the shoot simply trying to

recapture the composition from the previous shoot using two different models.

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THE MIRROR\\ Reflect or Not? \\The idea that inspired these compositions is

based on the concept of swapping out the reflections

with the natural world, this means that the mirror area

of the image was unimportant during the shoot, though

I did try and keep the reflection area as empty and clean as possible to make the post-production easier. In these images I have simply shown the effect of removing the

reflection, and even though the reflection is just turned a blank white, it does show the impact of changing the one

area, as people have a certain expectation when looking at a mirror.

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SHOOT FIVE\\ Sadie&Nicky

DRAW AND SCAN IN STUDIO SET

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DRAW AND SCAN IN IMAGE IDEAS

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