FRONTISPICE by Wilmark

Frontispice Photography Techniques to Transcend Your Conceptual Portraits

Wilmark Jolindon

FRONTISPICE PHOTOGRAPHY TECHNIQUES TO TRANSCEND YOUR CONCEPTUAL PORTRAITS Wilmark Jolindon

Bella Luce Publications Inc. 6071 R. Palma St. Rockwel Drive Poblacion, Makati City, Philippines www.bellaluce.com.ph

Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author / publisher. Notice of Liability The Information in this book is distributed on an “As Is” basis, without warranty. Neither the author nor the publisher hall have any liability to any person or entity with respect to any loss of damage caused by or alleged to be caused directly or indirectly by the instruction contained in this book or by the computer software or websites described in it.

ISBN: 990-6-321420-07-1 987654321 Printed and bound in the Philippines

Mother beautiful This book I hope you cherish While youâ&#x20AC;&#x2122;re with the Lord.

10 12

14 16

Contents 8

Acknowledgements

About the Author

Introduction

14 16

Part One: Essentials The Conceptual Portrait

18 20 22 24 26 28 30

Ideas Illustrated Through Portrait Photographs

Storytelling Developing the Conceptual Portrait

Collaboration Expressing Concepts and Ideas With Creative Minds

The Model The Vehicle of the Conceptual Portrait

The Look The Subjectâ&#x20AC;&#x2122;s Appearance to Visualize the Concept

The Pose Directing the Model Towards the Concept

The Light

The Ambience

The Technique

Shaping the Mood of Your Conceptual Portrait

The Elements and the Concept

Pushing the Concept into Visual Form

34 36

Part Two: Techniques DEPTH: Beyond the extent

Ultraviolet: Beyond the glow

sILENCE OF wISDOM

Somnolence

Dulce Dementia

Tempest Maiden

Kaleidoscopic Dream

Portrait Softening with Depth of Field

Bokeh Speckled Portrait

Lanterns, Mirror Play and Surreal Figures

Rougissant Couleur

Gouache Paints on Glass Planes For Watercolor Feel

Speed: Beyond the Momentum

100

Luminous Elements Under Ultraviolet Light

Animating White Garments in Ultraviolet Light

Nightcrawler Energetic Portrait Using Strobe, Continuous & Black Lights

104

108

Astral Deity

Fluorescent Body Paint Portrait on Black Light

Infrared: Beyond the Ethereal

Phantomly Deviant

110

Autumnal Grace

Spectress

114

Mors et Vita

Fluid Shuffle

118

Enchanting Allure

People in Blur Through Slow Shutter

Ghostly Figures in Slow Sync Flash

Freezing Water and Dance Moves Through Fast Shutter

Cloud nine

Skateboarding Tricks and Colored Powder in Action

Light Play: Beyond the Brilliance

Faux Autumn Setting through Infrared Photography

Themed Infrared Portrait at Noontime Outdoor Setting

Dual-Colored Infrared Portrait Using Strobe and Continuous Lights

122

Veil of Frost Strobed Infrared and Double Exposure for a Wintry Portrait

126

Aqueous: Beyond the flow

The Visionary

128

Blossoming Purity

The Multiman

132

Metallic Siren

Lux Musica

136

Flowing Grandeur

Shroud of Flames

140

Aqua Phoenix

Video Projector-Lit Portraiture

Multiple Personas Captured by Multiple Flash Exposure

Transforming Music into Light Painting Portrait

Fiery Fashion Portrait with Light Painting Simulated Flames

Pristine Entity in a Bath of Milk

Fluidity and Color in Motion

Underwater Portrait Bathing in Sunlight

Dramatic Underwater Lighting through Waterproof Strobe Light

144

Photo Shoot Credits

148

Index

Acknowledgements For one year I have developed the foundations

The photo shoots are mostly assisted by the great

of this book and for another nine months to put

love and helping hands of my orgroom family.

altogether all 24 photo shoots and compose

Jobo Nacpil was always ready to pose in front of

them all into a book. With that I would like to

the camera at times I need to test a new photo

thank all the people who supported me from the

technique. Anna Pielago served as the hair and

beginning till the end in making this book.

make-up artist for most of my photo shoots. Noa Fernando assisted the most in all of the shoots.

My interest in photography started with those Thursday photography classes I had with my professor and eventually my thesis adviser Fernando Torres. He trusted me that I can finish what I dream to accomplish and I am so thankful

Henriette Baes assists our team each time we would be shooting in the swimming pool of their subdivision. Kimberly Baylon, Lynne Cruz, Lea Chua, Maya Rojas and Alain Sy were also ready to help either in photo assist or make-up.

to be one of his students. The shoots are not possible without all the As I venture more on photography I also had the honor to be taught by photography professors Ben Araw, Jun Barrameda, Nadie Nacario and

models, makeup and hair stylists, designers and shoot assistants who were willing to share their time and skills in making this book possible.

Meo Remalante who paved more knowledge of photography and its different applications on

I would like to extend my gratitude to my family

several fields.

and relatives who supported me behind the lens. And lastly, I want to thank the one Father Artist who created all of these people to build the dream He envisioned for the greater glory.

Acknowledgements

About the Author Wilmark Jolindon is a Manila-based photographer

Wil

specializing in portrait, fashion and conceptual

role as a staffer at the UST Central Student

photography. As degree holder of Fine Arts

Council and a member of Fotomasino: The

and Design from the University of Santo Tomas

Thomasian Photographersâ&#x20AC;&#x2122; Guild. He has also

in Manila, Philippines, Wil first got hand with a

been conducting photo shoots for different

digital SLR at the age of eighteen when he was

organizations inside and outside the university.

has

expanded

his

work

through

his

enrolled to photography classes. He was a summer intern for Adphoto Inc., a While at first he was interested in shooting

prominent advertising photography studio in

photojournalism, he later realized that he has

the Philippines. There he learned the marketing

developed skills on shooting people portraits. His

aspect of photography and he developed a plan

love of portrait photography has gone to another

for the company to improve its online and social

level when he practiced conceptual portrait

media marketing.

photography and explored different photography genres such as light painting; ultraviolet, infrared and underwater photography then combined it with portrait photography.

About the Author

As the former internal vice president of the Illustratorsâ&#x20AC;&#x2122; Guild of UST, he also displays skills in painting, illustration and graphic design.

About the Author

Introduction The frontispice is the decorative faĂ§ade of a

Maybe you are inspired by art, and you wanted

building or that intricate illustration facing a title

to create art too, but you mostly equip yourself

page of a book. Both definitions signify one thing

with a camera to do art. What if you can shoot

â&#x20AC;&#x201C; the frontispice marvels its viewers and attracts

portraits, create art, connect to more people and

them to enter the realm of a building or a book.

inspire them all at the same time? Maybe it is time for you to go beyond your present shooting

Likewise the portrait acts like a frontispice; when the portrait is created beautifully, viewers would

habits and transcend to photography you have never imagined before.

be drawn closer to it, and their curiosity will spark on who the person portrayed is or how the

The first part of the book briefly discusses the

portrait is created.

essentials of conceptual portrait photography. I would be discussing here what makes a

The portrait photographer is passionate in capturing the frontispice of everyone. After all, we photographers are gifted with creative vision. We see things others may not see. And for us portrait photographers, we have the gift

conceptual

portrait

fascinating,

what

the

elements to consider in shooting your own conceptual portraits, and how to collaborate with like-minded creative individuals in forming photographic masterpieces.

of revealing a side of our subjects not even them might realize.

The

second

part

the

book

entails

six

photography techniques: depth of field, shutter We are fond of portraying people with our cameras. We shoot the familiar and unfamiliar. We shoot indoors and outdoors. We either wait for a candid moment and shoot it, or direct our subjects into the best they can be.

that can be applied to conceptual portraits to make them both visually appealing and conceptually elaborated. Technical knowledge of the techniques is a first, but managing those

But what if you hear the creative soul in you?

shoots from start to finish could be the key to

What if you can do something more than what

your creative transcendence.

you are comfortably shooting right now?

speed, light play, ultraviolet, infrared and aqueous,

Introduction

Part One

essentials

The Conceptual Portrait Ideas Illustrated Through Portrait Photographs

In its pure essence, most genres of photography

When an artist wants to communicate ideas

aim

and

to the audience, he or she would think of ways

photojournalism records the aspects of a certain

on how to express those ideas in a way the

community, event or community in a specific time.

audience would quickly grasp their attention and

Commercial

products

understand those ideas. The portrait, the visual

and services to sell. Landscape photography

representation of a human, is one way to use as

preserves the beauty of nature in a photograph.

a medium of communication, for the human is

Portrait photography captures the character and

capable of expressing visually his or her emotions

personality of an individual.

through facial gestures or body language that

capture

reality.

photography

Documentary

captures

viewers can easily relate themselves to. Conceptual photography however is different. It is used to illustrate an idea. True, it still captures

A conceptual portrait photograph then captures

reality with a camera and other photography

a human, either a model or the photographer

tools; yet a concept is applied to that reality, even

him/herself, which is fashioned and directed by

a new viewpoint no one have ever imagined. The

the photographerâ&#x20AC;&#x2122;s ideas. Location, clothing,

photographer could even pick up a few objects,

props or technique are also considered to further

compose and arrange them, and through his or

elaborate those ideas. It is one creative way for a

her artistic vision create a new reality. something

photographer-artist to express oneself.

we do not see normally.

QUEEN OF FLAMES I personified scorching flames through this conceptual portrait. Here my model Aya poses as a goddess of flames while light painted flames surround her and form her burning aura.

essentials

The Conceptual Portrait

Storytelling Developing the Conceptual Portrait

In shooting conceptual photographs, one should

be taken, or what other elements you should

consider what the concept you want to express,

integrate with your subject that would add up to

how you will express the concept, and who you

your concept. Aside from these, you should also

want to express the idea with.

consider the technical aspects of photography to be used such as shutter speed, aperture and so

Your concept is the main driving force of your conceptual photograph; without it the portrait will just remain as a portrait, or even worse a senseless snapshot. Do you want to show emotions, or evoke them? Or do you want to portray a character, perhaps fictional or based on a historical figure? Do you want to show similarity or idiosyncrasy? Or do you want to personify or

forth. True, you can shoot a conceptual portrait without the technical knowledge of the camera; you can still express what you want to depict considering the posing, elements and setting are correct. Yet there is a great big difference if you know what lighting to be used or what photography

technique

would

enhance

the

mood of your photographs.

objectify abstract ideas? Lastly, you have to consider who should you be If you have formulated a concept to express, you now have to think a way how to express it through a portrait photograph. You decide who should pose as the model, or where the shoot

your audience to view your conceptual portraits. Your intended target audience should be the ones who can strongly relate and understand what you are trying to say.

FRIGHT IN FLIGHT Here I depicted Kristine as a lone angel in flight but surrounded by darkness. She was lying down on a large black cloth stretched on a swimming pool.

essentials

Storytelling

Collaboration Expressing Concepts and Ideas With Creative Minds

Like other forms of art, conceptual portrait photo

Since this is also a portrait shoot and if the

shoots can be done as collaboration amongst

concept calls for a certain facial look for the

creative minds alike. In collaboration, each has a

model, the skills of a hair stylist and/or a make-

role or skill to contribute to create the big picture.

up artist would be needed. If the concept needs elements larger than make-up, the photographer

The photographer is usually the head artist for he captures all of the efforts of the team into the photographs. Acting as the director, he checks if all elements of the shoot are in place, may that be the model’s make-up or the status of the setting. The photographer may be joined with other

could collaborate with a body artist or a prosthetic artist. If the shoot is heavily influenced by fashion, the service of a wardrobe stylist could be called. A production team would be helpful in transforming a plain room into a different kind of scenery required by the concept.

fellow photographers or assistants that would either aid him throughout the shoot or provide

The photographer can also collaborate with

new ideas and viewpoints with one another.

artists such as painters, illustrators, writers and many others. Both parties would inspire each

The model is what you can say the photographer’s canvas. Provided the model is well-briefed with the concept and he/she understands it, the model

other and cross-produce art from their own skills. Collaborations are a creative way of connecting with fellow artists.

performs the concept through facial expression or body language. Models can work solo, in pairs or even in groups, depending on the concept.

MAN OF FAITH I collaborated with the iconic UST photographer Paul Quiambao in a portrait shoot. Allowing me to use his photographs to be projected onto him, I conceptualized the significance of UST to him. This photo reveals that through UST, Paul’s faith has strengthened.

essentials

Collaboration

The Model The Vehicle of the Conceptual Portrait

The model physically manifests the concept. He

parkour

performers;

athletic

individuals

or she gives facial expressions or poses body

such as martial artists and swimmers. They are

languages to describe the idea..

a good choice for concepts that involve their interests, and they would perform their stunts or

Other requirements may vary from the purpose of

the

shoot.

Conceptual

fashion

portraits

maneuvers with ease. Collaborating with them could also give good publicity for both parties.

require physically fit and attractive models who know how to deliver clothing. Beauty portraits

Gender and age could be considered in choosing

with creative or avant garde make would call

a model. Traditionally, males are associated with

on models with good facial features. Nude

themes of strength and valor and females are

photo shoots also have different preferences of

associated with themes grace and beauty. Also,

models depending on the concept; some would

the young are linked with innocence while the

prefer athletic bodies, others skinny and some

elderly are linked with wisdom. However, you may

curvaceous.

or may not necessarily follow these. A deviation of these norms , when properly executed, could

Models are not restricted from the professional

make the portrait stand out.

ones who pose for advertising, art or fashion for a living. You can also choose performance artists

Casting calls are a way of searching for models.

such as acrobats, dancers or theater performers;

State there all requirements your concept needs.

extreme hobbyists such as skateboarders or

BELLE OF THE PAST The beauty and gracefulness of my model and friend Dianne suited my idea of reviving a noir portrait of old Hollywood glamour.

essentials

The Model

The Look The Subject’s Appearance to Visualize the Concept

The way how your model physically appears in

do alone. Consult a make-up artist, body artist

your photograph somehow visually entails your

or prosthetic artist and discuss to them your

concept. Make-up, body art, prosthetics and

objectives.

clothing – all these could affect the way your model look and you should know which should

Clothing can make a difference in transforming how your model looks. It can be as simple as

be appropriate for your conceptual portrait.

multiple draped layers of cloth or as complicated A bare face without any cosmetics applied still

as high fashion designer outfits. If you are unsure

makes a statement; it states the real face of the

what clothing best fit for your shoot, consult a

subject – imperfections untouched, just honesty

wardrobe stylist. Remember too that there are

at its purest. A bare face best depicts a person

stylists for fashion and for production; know

captured through photojournalistic approach.

whom to approach depending on your goals.

Make-up, body art and prosthetics can alter the

A person without some articles of clothing or

overall appearance of the model. Make-up can

even in the nude, also portray the bare essentials

either be high-end glamorous or down-to-earth

of the human. However, context applies on how

gritty. Body art from tattoos to body painting

much skin is seen, how the facial and body

can make interesting effects to the model’s

gestures are posed, and the purpose of the shoot

body. Prosthetics morphs the human body into

itself. Decide on what look the concept calls for.

fantastic forms make-up and body art cannot

to properly communicate the visual message.

BURNING HUES My make-up artist friend Anna did a colorful look to my model Cathy to complement the flaming harmony of multicolored lights.

essentials

The Look

The Pose Directing the Model Towards the Concept

Pose is not just how the model does a certain

happiness,

stance in front of the camera. It is the language

eyebrows with anger and so forth. How the

the

and

subject looks into the camera can also tell a

bodily gestures. It is the mouthpiece of the

language. By looking directly into the camera,

photographer-artistâ&#x20AC;&#x2122;s ideas and thoughts, the

the subject directly communicates with the

embodiment of the concept.

viewer. When the subject looks away, it can mean

model

expresses

through

facial

frown

with

sadness,

crossed

he or she is contemplating or engrossed with an The poses of the model may vary from concept

object or an activity.

to concept, and a pose in a photograph that resembles the same in another photograph

Not only the right body stance helps making the

does not always mean both poses convey the

subject look pleasing, the body stance should

same meaning. A man standing stiffly and

express a body language that voices out your

expressionless in the middle of a busy street, and

concept. When hands and arms are included into

the same man with the same pose but planking

the composition, unless intended, it should not

in the water while everyone else around him are

only be placed blankly. Soft poses communicate

mercilessly calling for help; both are similar in

grace and hard ones, aggressiveness.

pose but the earlier suggests loneliness and the later deafness for social awareness.

Know what would be the tone of the concept for the model and you to interpret the right

Facial gestures usually give away the tone of

expressions to deliver the right message to your

the portrait. We easily associate a smile with

audience.

OUR LADY OF ROUGE I directed Dane to cross her hands and lay them on her chest as if she was an oriental saintly figure.

essentials

The Pose

The Light Shaping the Mood of Your Conceptual Portrait

As a painter uses a brush and paint to create a

attractive young woman seductive. It is the light

portrait painting, a photographer uses a camera

that when you see an old man crying and only a

and the light to create a portrait photograph.

hint of light shining upon him, you would feel the sorrow and tension of his raw emotions.

The photographer must know not only how to modify the light to properly make the portrait

The light source for your conceptual portraits may

pleasing, but also how to use the light to suit the

depend on your preference. Portraits shot with

atmosphere of the concept.

natural light are appealing, especially those shot by the window, on a shaded area, or during the

A lighting that is set to high key or fully bright suggests cleanliness, purity, or joy. It is the light that would make the portrait of laughing children happier. It is the light that when you see a bride bathing in whiteness, you would feel the graceful and solemnity of her presence.

Golden Hour (early morning or late afternoon). Strobe lighting is a great and dynamic way to light your portraits for you have the control to set and modify the light you want to use. You can also use other light sources such as candles, flash lights, light bulbs, fluorescent light tubes and

Conversely, a lighting that is set to low key or in

anything else that emits light. What is important

dim light, suggests drama, gloom or sensuality.

is you know how to use these light sources in

It is the light that would make the portrait of an

bringing out the embodiment of your portraits.

LIGHT AND SHADOW The high key lighting emphasized the concept of Anna being a heavenly immaculate entity while the low key lighting emphasized Jobo as a sinisterly malevolent entity.

essentials

The Light

The Ambience The Elements and the Concept

When we speak of a portrait photograph, we

behind. Provided they are placed appropriately,

usually picture in our minds a photograph of

props can give clues or background stories to

someone, usually a head shot, against a plain or

your conceptual portrait photographs.

mutely textured background. This is the general perception for portrait photography, for the emphasis is the subject photographed.

What lies on the background of your subject also tells a story. A blank background suggests universality and emptiness; it gives a direct

When a portrait photograph transforms into a

spotlight to your subject. When you shoot

conceptual one, we tend to defy these norms, for

somewhere else aside the studio such as in a

now we emphasize the character of the subject

forest, a field or at the streets, you relate those

embodying the concept. We may not even show

settings with your portraits.

the face of the subject, or depict other parts of the subjectâ&#x20AC;&#x2122;s body. We can add or subtract elements to the portrait. Itâ&#x20AC;&#x2122;s your choice on which

Why would a woman, dressed in a pastel colored classical-era gown, waiting happily during the modern times in a bus stop when everyone else

should remain.

waiting at the bus is gloomy? In this context, A certain prop may be added to the scene to give

the different elements are used to elaborate

more detail on the concept. It could be something

the contrast between optimism and pessimism.

the model holds or interacts, or something

Likewise, you should learn how to connect every

placed on the scene to give context on what is

thing you add to your portrait with your concept.

CITY LIGHT LOVEBIRDS The light trails that seemingly spreading out from Janet and Ken both signify the title of the photo itself and that their love remains against the odds.

essentials

The Ambience

The Technique Pushing the Concept into Visual Form

True that a great concept depicted by a person

Most photographers would use a single-lens

with a limited skill in his or her tools could still

reflex (SLR) camera to shoot for it enables full

give a great concept, but it could be embodied

control of the camera settings such as shutter

on an average artwork. But if a great concept

speed and aperture unlike consumer grade

is depicted by a person who mastered the

cameras wherein most of those settings are either

usage of his or her tools that concept would be

automatically set or hidden for casual shooters

stronger, and even iconic to be considered as a

not to bother. While traditionally slides or film

masterpiece.

are used to store photo data, digital sensors had been developed to store photos in digital format.

Same goes with conceptual portrait photography. If you have a good model who expresses your concepts deeply, with the right make-up, styling, location and concept, yet you photograph all these without the basic understanding on photography, you would only be depicting a bland shot of a great concept. But just imagine if you have all those elements and you know how to perfectly capture them with the right camera settings and lighting. your creativity truly shines

The advent of the latter paved the way for further experimentation of photography techniques for it enabled economical shooting with instant viewing of results. Toy cameras also exist; while they do not clearly shoot as SLRs, the various effects the toy camera produces are considered aesthetic by the enthusiasts. Overall, you may choose whichever of these camera types would suit you; as long as you know how to level its settings to your vision for conceptual portraits.

through your photos.

FEATHERLY EPIPHANY To depict the Eureka moment of an owl figure portrayed by Nico, the soft falling of feathers was captured by using a large aperture opening and a slightly slow shutter speed.

essentials

The Technique

Part Two

Techniques

beyond the extent

depth

How the camera sharply captures the subject may depend on the aperture setting. The sharpness or blurriness of the object may vary on its distance from the camera. That distance is called depth of field. It is common for portrait photography to use a shallow depth of field wherein the lens used has a small aperture number so that the camera would render the subject sharp while keeping out all the other elements in the shot in blur. In this chapter, we would take advantage of depth of field in creating conceptual portraits in soft, surreal atmosphere.

The Technique

Silence of wisdom Portrait Softening with Depth of Field

The concept The owl symbolizes wisdom for it is notably associated with the Greek goddess Athena. My illustrator friend Nico is fascinated with owls; he does illustrations of decoratively crafted owls and portrait drawings with eyes reminiscent of owls. I decided to collaborate with Nico in coming out an owl-inspired portrait shoot.

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Normal lens Bag of white feathers

To apply depth of field to the shoot, I used feathers in varying distances: some are falling gently at the model; others are placed near the camera lens to

Nocturial guardian

â&#x20AC;&#x153;softenâ&#x20AC;? the look of the portrait. The reason I used

In Greek mythology, the goddess

feathers is first, obviously feathers come from birds;

of wisdom Athena kept an owl

and second, I want to create a soft, contemplative

as her loyal companion. She was

feel to the shots â&#x20AC;&#x201C; because in the meditative silence of man springs out enigmatic wisdom.

fascinated with its great big eyes and

its

The

Owl

majestic was

appearance. a

protector,

accompanying Greek armies to war, and providing ornamental inspiration for their daily lives.

depth

Silence of wisdom

Photo shoot setup of Silence of Wisdom

The procedure Originally Nico would pose himself as the model

Since the concept calls for a soft contemplative

for the shoot, but due to schedule conflicts he

feel, I decided to use natural lighting through a

agreed to have another model to pose instead.

window light in an attic. Window light for me

That’s when I casted Wei, who is also a friend of

would always be a great way to light up a portrait

Nico’s, and his facial features are good enough to

for it gives a very soft and diffused light that is

fit the concept.

somehow hard to replicate on artificial lighting. I positioned the model adjacent to the window to

Nico designed a half-eye mask out of white and

retain some depth on my model’s physique.

brown feathers: three long feathers are placed at the edge for flair. Our make-up artist Chezka

At the shooting proper, I asked my assistant to

put a matching eye makeup on the model to

place some feathers in front of the camera lens to

complete the bare areas of the face. Wei’s hair

create the soft feathery blur I want to achieve. I

was pulled back with hair gel for a sleek clean

was careful in composing the feather blur; I want

finish. The remaining brown feathers that were

to place it in a way that it will not interfere with

bundled in string are wrapped around Wei’s neck

the features of my model.

to complete the owl-inspired look.

depth

Another assistant would scatter the feathers

mode (wherein the camera shoots continuously

around the scene. Catching the fall of the

as long as the shutter is still pressed) can help,

feathers in the right composition is quite difficult

but make sure that your camera has enough

for the results are unpredictable. I would suggest

memory space to capture all those shots.

that when shooting a portrait while timing out elements in motion, your eye should be not in the viewfinder so that youâ&#x20AC;&#x2122;ll have a better view of the scene. A remote to trigger shutter release would also help. In this manner, you should first compose your shot to ensure that while your eye is not in the viewfinder you can still ensure the photograph is well composed. If you cannot predict the fall of the elements, shooting in burst

There are many other ways of diffusing portraits with depth of field, For example, when shooting that involves flowers, use one flower to frame your model, or shower petals at the model to give the impression of a wistful floral shower. Whatever the theme of the shoot may be, integrate one element of the theme to give framing or ambiance to the portraits.

Silence of wisdom

Dulce Dementia Bokeh Speckled Portrait

The concept For this shoot, I wanted to depict the hedonistic aspect of life wherein one would overly indulge into the sweets of life that they fail to grasp the bitter realities. A candy inspired shoot would fit to this concept, but the art direction should be executed in a way that the models express madness in contrast with the colorful ambiance.

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Strobes or flash units Umbrellas Color gels

The colorful circles of light (or bokeh) would

Christmas lights

enhance the photo shoot’s theme. The blurred aspect of the bokeh would also symbolize the hazed sanity of the subjects. In order to produce those colorful bokeh, one must set the lights in such distance that the camera would blur them into circles of light.

Circle of light Bokeh (from the Japanese word boke, meaning blur) refers to the quality of out-of-focus or “blurry” parts of the image rendered by a camera lens. It is produced by shallow depth of field on a large aperture and/or focal length.

depth

Dulce Dementia

Photo shoot setup of Dulce Dementia

The procedure Jessica, our makeup artist, styled the modelsâ&#x20AC;&#x2122;

When shooting portraits with bokeh, one must

eyes in multiple colors for that candy-inspired

expose first the colored lights, then adjust the

look; while Lively, our hair stylist, teased the

flash power to even out the lighting between the

hair to create the wild look. I pulled out outfits

subject and the bokeh. Ideally, prime lenses (such

on a college fashion show that featured a line of

as 35mm, 50mm, 85mm or 105mm) with wide

clown-themed outfits.

aperture openings of f/1.2, f/1.4 or f/1.8 would do the job in achieving bokeh portraits in good light

For the lighting, I used three strobes â&#x20AC;&#x201C; two are diffused in umbrellas located at opposite sides: the right served as main light, while the left, with violet color gel inserted in, served as fill light.

while retaining a low ISO. Zoom and telephoto lenses can also be used to render smooth bokeh, but a large studio or even an outdoor setup may be required due to the long focal range.

The third light, inserted with magenta color gel, served as rim light. To simulate the multicolored

The size of the bokeh would also depend on the

bokeh, the Christmas lights were placed both in

distance of the lights against the focused area â&#x20AC;&#x201C;

the background and in front of the camera lens.

the farther the lights, the larger the bokeh. In our shoot, the models are in focus. The red Christmas

depth

lights appear to be larger for those are placed

around the neighborhood. Lights from passing

in front of the camera. The multicolored lights

cars and street signage would also create bokeh,

appear to be smaller for those are placed around

but be mindful when shooting outdoors, for some

10 feet away from the models. Also, the cropping

areas, especially busy urban areas, would require

of the composition would also determine bokeh

a permit to shoot, especially if the shoot involves

size. The first photo in the previous page has a

the use of strobe lighting.

tighter crop than that of the photo at the opposite page; the colorful bokeh in the background of the earlier appears to be larger.

To add a creative punch, bokeh can be shaped into hearts, stars, or whatever the photographer desires. To do so, a black paper with the small

Bokeh can be simulated by light sources that are

cutout of the shape desired must be inserted in

distant from your subject. Take advantage of the

front of the prime lens.

holiday seasons when decorative lights are set

Dulce Dementia

Kaleidoscopic Dream Lanterns, Mirror Play and Surreal Figures

The concept The word kaleidoscope, according to its Greek roots, means observation of beautiful forms. And the human itself is an epitome of beauty; such form and grace is a marvel and inspiration of art forms of different generations. Such concept befits my good friend Dianne who is an aspiring graphic artist and model. I pitched up to her that Iâ&#x20AC;&#x2122;ll photograph her in such a way that geometric, abstract forms surround

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Strobes or flash units Snoot Pocket mirror

her, and she, the muse of beauty, is in the center. Instead of using an actual kaleidoscope, I simulated

Blurred lines

the look of a kaleidoscope by carefully positioning a pocket mirror in front of the camera equipped with a prime lens with wide aperture. The result: images in the scene tend to duplicate and overlap around â&#x20AC;&#x201C; making the photograph in a dreamlike atmosphere.

A similar effect is done by fashion

photographer

Patrick

Demarchelier

Spring

campaign

2013

his

DNKY with

Cara Delevingne. In his shoot, Cara is posed around the streets while blurs and reflections of the surroundings are composed within the frame.

depth

Kaleidoscopic Dream

Photo shoot setup of Kaleidoscopic Dream

The procedure I pulled out a sky blue dress and accessories to fit

the lanterns and the reflections and balanced

the glasslike concept. Our make-up artist Maya

the lighting of the model with the strobe in a

styled Dianneâ&#x20AC;&#x2122;s blue silvery eye shadows and lips

relatively low flash power (because the ISO is too

to match the dress.

sensitive at this setting) and modified in a snoot because I wanted the strobe to concentrate the

Luckily for the team, an exhibit of a multitude of star lanterns was open and the facilitators allowed

light to my model and not scatter the light on the lanterns.

us to shoot inside, at least for a while. The designs of the star lanterns are perfect enough to match

The hand mirror technique is produced through

the concept, and with the hand mirror technique,

shallow depth of field. While my model is in focus,

the lanterns seemed to duplicate more in the

the reflections created by the mirror while out of

photographs taken.

focus are partially rendered; but due to depth of field, the reflections are in soft overlay with the

A challenge to this shoot was balancing the

my model Dianne.

exposure of all the elements â&#x20AC;&#x201C; the model, the

depth

lanterns and the simulated reflections. I used a

Interesting to this technique is the unlimited

50mm f/1.8 lens and high ISO to properly expose

and unexpected possibilities of positioning the

hand mirror towards different environments to

Aside from pocket mirrors, you could experiment

create a different feel on your portraits. In a place

with other reflective materials that you can place

surrounded by Christmas lights, the reflections

in front of your camera lens. The surface of a

appear to be various beams and shafts of light.

compact disc or CD can give the reflective effect

In street settings, buildings and other outdoor

of the mirror, but with specks of color; what more

elements overlap the subject. Shooting within

if you also light the CD with a flash light. You can

an area with picturesque architectural details

also try using a glass prism; that would create a

can also add interest in your portrait. Or even

partial rainbow-like effect.

shoot someone with this technique in a crowd of people â&#x20AC;&#x201C; the blurred faces of other people would create an eerie and pensive mood to your setting. You can create your own environment whilst using the technique, like shooting your subject

Remember that concept comes first; use this technique if you think it would elaborate more of what you want to express, rather than just adding a random special effect for your sake.

in a room filled with confetti thrown everywhere.

Kaleidoscopic Dream

ROUGISSANT COULEUR Gouache Paints on Glass Planes For Watercolor Feel

The concept The human is considered to be the greatest creation to all the living beings for it is not only graced with physical form, it also has intellect and potential to oversee all the other creations of nature. Such creation is a work of art, and indeed the human itself is a great work of art. The body itself can be fashioned to evoke emotions and the soul can be directed to express ideas.

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Strobes or flash units Umbrellas Acrylic glass planes Goache paints

With this concept I correlate with my knowledge on my friend Allyza. Her use of bright pastel colors in her watercolor paintings and illustrations are whimsical and delightful to the eye. And to top it all, she works as a part time model for her artist friends. In this shoot, I would like to turn Allyza into a painting of her own while simulating her painting style all in

depth

Like watercolor, goache consists of a pigment and binding agent like

gum

watercolors

arabic.

But

unlike

that are applied

in transparent layers, goache

photographic form. The catch to this is that I will

is designed to use in opaque

not be using photo manipulation to achieve the

method similar to those of oils

look, rather the careful placement of glass planes

and acrylics. Goache is water

painted with gouache and understanding of depth

based and washable.

of field will do the trick.

Gouache up

ROUGISSANT COULEUR

Photo shoot setup of Rougissant Couleur

The procedure My make-up artist Thea has collaborated before

The painted glass planes were now positioned

with Allyza in a photo shoot, so itâ&#x20AC;&#x2122;s no wonder

into the scene: the vibrantly painted one was

she is willing to work together with us. And Thea

placed near the white backdrop while the partly

did a great job in styling the hair and applying

painted one was placed in between the model

face paint reminiscing of Allyzaâ&#x20AC;&#x2122;s.

and the camera. Two strobes in umbrellas were used in the shoot, one at camera right as main

The next step was to smear gouache onto the acrylic glass planes. The glass to be placed at the background should have vibrant colors, but the

light, and another directed at the backdrop as background light, a soft rim light and the light to illuminate the back glass plane.

glass placed in front of the camera should have enough paint to accentuate the soft painterly feel

Because it is composed as a beauty shot, I used

of a watercolor painting, but transparent enough

an 85mm lens to avoid facial distortions. At

to see through the model.

shooting proper, I would lock first the focus on the face of the model, before placing the glass in front of the camera to avoid focusing errors.

depth

The gouche-painted glass gave a significant difference on the ambiance of an already greatly-executed portrait.

The results of the shoot are fascinating. Sans

Aside from painting in glass, one could experiment

the painted glass, the shot looked like a typical

with drawing figures on it as if the figures frame

beauty shot. But with the glass the beauty

or even â&#x20AC;&#x153;interactâ&#x20AC;? with the model, or even layer

shot transcended into an art photograph; in a

multiple drawings and figures pasted in glass

perspective, the photograph would look like as if

planes as if the subject is photographed through

it was digitally painted. The paints that are out of

a scanner. A note though that the aperture should

focus turned into soft daubs of pastels.

be increased in a larger number, say f/8 or higher, to remain the sharpness of both the figures and

There is a room for more experimentation on this portrait style. One can explore more on different make-up styling and imitate the look of different

the subject photographed, Also, there should be sufficient light to properly illuminate the planes, otherwise the figures would appear dark.

art period styles.

ROUGISSANT COULEUR

depth

speed

beyond the momentum

The camera captures motion through setting up the shutter speed. The longer the shutter has been released the more details the camera records in succession; as a result, we see elongated blurs of the action. The shorter the shutter release, the more the camera records the moment in freezing motion. Applying these, we could add life and dynamism to the composition. In this chapter we would deal on how both slow and fast shutter speed can be used to illustrate energetic portraits.

ROUGISSANT COULEUR

PHANTOMLY DEVIANT People in Blur Through Slow Shutter

The concept I met Nicole a.k.a. â&#x20AC;&#x153;Popstar Pikoyâ&#x20AC;? on a gig at a music bar. Her musicality and her sense of fashion was quite remarkable for a graphic artist slash underground musician. And like other local underground artists, they offer a different kind

The ingredients SLR Camera Normal lens Strobes or flash units Umbrella Tripod

of tune that has the potential to outstand those produced by the mainstream; yet due to several factors, only a number listen and appreciate their skills and talents. I pitched this concept to Nicole on our first photo shoot collaboration. She would be sitting in the ground and strumming her guitar like a street performer. I would capture the people walking

for a longer time such as 1/15 of a second and below, more light

execution symbolizes two things: Nicole, someone

enter the film or sensor, recording

with musical talent, stands out from the crowd and

every detail of movement or

despite this not all people would appreciate her gift

stillness in that span of time; thus

was then gladly willing to participate.

speed

When the shutter remains open

past her but they will be captured in blurs. The

thus their ignorance seen through the blur. Nicole

Take it slow

the motion blurs are generated.

PHANTOMLY DEVIANT

Photo shoot setup of Phantomly Deviant

The procedure Our make-up artist Ken does an avant garde

to be included in the shots, and no intervention

style makeup to Nicole who is dressed in bright

from the security was needed to proceed with

hues of purple and blue. Nicole styled her on hair

the photo shoot.

in various times throughout the shoot â&#x20AC;&#x201C; from a straight bob to a grungy messy hairdo.

speed

suitable for portrait photography for even the

A challenge for us is finding the perfect area

slightest movement of the subject the camera

and perfect time for the shoot. The rush hours

would render such. But in this case, through the

of six to seven in the evening would provide us

use of slow synchronization flash (or slow sync

many passersby, but our setup might impede

flash) the subject will be rendered sharp and

their pathway. Also, several areas in the city

stationary while any other moving elements will

restrict photography, unless a permit with a

all be rendered in smooth blurs.

corresponding payment is secured.

Normally, slow shutter photography alone is not

I exposed first the background with the moving

Since the team is on a budget, we decided to

people. After setting the right exposure on the

shoot inside a university park on a Saturday

background, I set the flash power to balance the

evening. Lucky for us, there were enough people

lighting between the model and the background,

and to freeze the stillness of the model. I mount

This technique is not limited to moving people.

the camera on a tripod to ensure the stillness of

Light streaks from moving cars would make a

all stationary elements. During the shoot, I would

great scene for you to play on a concept for your

ask Nicole to keep still in a few seconds for even

portrait shoot. Be sure that your team would

with this setup, drastic changes in posing would

shoot in a safe and secured area and the shoot

still affect the final output.

would not cause commotion to the public.

We avoided areas which have a lot of ambient

Exploring more of the technique of the moving

light such as those produced by street lights or

and the still comes a lot more ideas and

fluorescent lamps. Too much ambient light will

opportunities to shoot: perhaps a room full

record much motion blur that strobe light cannot

of swinging dangling objects while the model

aid anymore in freezing the subject.

remains calm and collected. The possibilites are indeed endless.

PHANTOMLY DEVIANT

Spectress Ghostly Figures in Slow Sync Flash

The concept The ballerina, in my opinion, is the graceful of all art performers. Through her brisk refined moves and stances, she spells out a broad series of emotions. However these days ballet is not that much into the limelight. Ballerinas would then be perceived as graceful phantoms dancing in the dark wherein only few would feel their gleam. The mask

The ingredients SLR Camera Normal lens Strobes or flash units Continuous light source such as LED video light Umbrellas White fabrics

symbolizes the animosity of both their identity and their potential to inspire the crowd. Slow shutter speed technique would create the ghostly effects I intended. But since I also want

Curtain of light There are two ways of handling

to define in detail the body of the model, a flash

flash syncronization. The first

exposure is also needed. Thus, the movements

one is front curtain sync wherein

of the model and her body in poise will both be

the flash is fired in the beginning

captured through the slow sync flash technique.

of the exposure. The second one is rear curtain sync wherein the flash is fired at the end of the exposure. Which ever the curtain setting to be used may depend on what effect to achieve.

speed

Spectress

Photo shoot setup of Spectress

The procedure Since the creative team did not have access for

We set the lights on a pitch dark area. That way

ballerina outfits, we improvised the look with a

no other continuous light but from the video light

simple dress and two white fabrics to create the

will be recorded by the camera.

phantomlike effect. For the makeup, Anna made my model Kimberly’s lips in dark plum with a metallic gloss. Anna also dusted silver powder on the face, upper body and arms to finish the look.

speed

I first check the flash power if it will expose my subject enough in a flash sync. Then I checked the intensity of the video light in ratio with both the aperture and the shutter speed. One must take

The main light, one strobe diffused with an

note on how bright the light should be, how long

umbrella, was located in bottom right side of the

the shutter speed and how big is the aperture to

setup. Opposite the main light is the rim light

have a properly exposed “ghosting”. Shooting in

which is a strobe but charged with a weaker flash

RAW format would help in case if there would

power. Somewhere in front and near the foot of

be unexpectedly underexposed or overexposed

the model is a LED video light that captured the

areas; RAW can still somehow recover those. Still,

trail of motion of the model and the fabric.

it is better to set things all right in camera.

On shooting, my model Kimberly would do some

fabrics then fire the flash to capture the two in

graceful dance moves while sweeping a light

detail. If ever Iâ&#x20AC;&#x2122;ll be using the front curtain flash, I

white veil in the air. An assistant waves another

would make the model strike a pose first so that

white cloth while Kimberly performs. We had

sheâ&#x20AC;&#x2122;ll be flash-lit, then make her move to further

variations on when the flash would fire in the

capture the motion.

long exposure: either I snapped the shutter at the right moment when Kimberly does the peak of her move or I let her perform first and then direct her to freeze and pose then fire the flash.

A combination of both flash curtains would result a multiple exposure: I would be capturing the initial pose, the motion trail and the final pose. If you want to have multiple flash exposures, better

Regarding on what type of flash curtain I used,

use an external flash unit that fires flash on a click

I chose to use rear curtain flash for I want to

of a button. Your choice of flash curtain depends

capture the motion trails of the model and the

on what kind of final image you want to achieve.

Spectress

Fluid Shuffle Freezing Water and Dance Moves Through Fast Shutter

The concept Because I previously covered the gracefulness of a ballerina, I contrastingly want to capture the aggressive beauty of a hip hop dancer. The hip hop dancer delivers a different kind of energy; every performance is charged with grace in different level of intensity.

The ingredients SLR Camera Normal lens Strobes or flash units Warming gel Umbrella Water hose

Luckily I know Yoji whom I photographed years ago for a school assignment. For someone who has been performing in numerous events and competitions, he is the perfect subject to match the concept.

Flash to the limit To capture objects in high speed

I want to capture his dance moves in fast shutter

photography, one must use a

speed, but to add more impact and drama; I

very fast shutter speed and

integrated spraying water into the scene. That way

the right amount of lighting.

I can freeze his energy from his maneuvers through

However some cameras have

the water droplets and splashes.

a maximum flash sync of 1/200 of a second. Shooting beyond 1/200 will cause a black band in a side of the shots.

speed

Fluid Shuffle

Photo shoot setup of Fluid Shuffle

The procedure In wet shoots, when motion is a requirement,

brown color. That is because I set the white

make your models wear light clothing. We

balance on a cool temperature (the Tungsten

decided to make Yoji shirtless so that he can move

white balance makes photos cooler to balance

freely even with wet condition. For the location,

the orange cast of indoor lighting) while adding

we chose this place wherein water puddles form

a warming orange gel onto the main light. The

in a rough stone surface.

warming gel balances out the blueness of the white balance.

Lighting wise, I want my model to be lit with strong contrast and the water splashes and

Since this is a photo shoot, I asked my model Yoji

droplets to be rendered brightly. To do so, I

to do a dance move one at a time. Thatâ&#x20AC;&#x2122;s because

placed a strobe with an umbrella on the corner

a dance sequence involves numerous moves of

of the setup to light the model, and another two

bursting energy; you might have a hard time

strobes located at both corners on a distance

catching up on getting the right shots. Even with

behind the model to light up the water.

a high aperture, if your model does not stay in place, he will be rendered blurred by the camera.

If you will notice, the water splashes are in bright blue while the modelâ&#x20AC;&#x2122;s skin remains its natural

speed

I generally pre-focused first the model, set the

focus to manual mode, and then snapped the

There are many other ways of exploring this

shutter release on every peak of the dance move.

technique. When a fast lens with a wide aperture

Again, to have a better view of the scene, adjust

is used, the droplets will turn into layers of

your settings in-camera, and then snap the photo

bokeh. Instead of spraying the water, throw the

with your eyes looking at the scene,

water in large amounts to the subject while he/ she animates. That way the water splashes would

An assistant sprays water onto the model through a hose. I instructed her to be careful in not getting the lighting equipment wet. I suggested Yoji to do the dance moves in swift action and to take advantage of the water puddle in creating large splashes through his movement.

be more powerful. Water can be colored either through color gels in strobes or mixing it with amounts of food coloring or dye. Real paint would do the job, but since it may harm the skin from toxicity, an alternative would be water mixed with dye and starch.

We experimented with different dance moves until we nailed the shots.

Fluid Shuffle

Cloud nine Skateboarding Tricks and Colored Powder in Action

The concept Skateboarding is an extreme, free spirited hobby. It involves different tricks and maneuvers that require practice and caution. Despite the dangers, a true passionate skateboarder would take the risks of executing the tricks he aspires. Getting those

The ingredients SLR Camera Normal lens Strobes or flash units Color gels Color powder

maneuvers right in mid-air gives him a sense of cloud nine, a fleeting air of triumph. I would like to capture that feeling of defying achievement through a portrait photograph â&#x20AC;&#x201C; a skateboarder gloriously flies mid-air. And to make

Festival of colors

the portrait more powerful, I made use of colored

Holi is a spring Hindu festival

powder to highlight the motion. The powder was

observed by most South Asians.

applied all over the model so that when he executes

The highlight of the event is

his trick, the powder will burst into colorful clouds.

the festival of colors wherein everyone

plays,

chases

and

colours each other with dry powder and colored water. This festival signifies the victory of good over evil.

speed

Cloud nine

Photo shoot setup of Cloud Nine

The procedure I first bought colored Holi powder from an Indian grocery store. I prefer to use Holi powder for its consistency can vary on your handling; it can spray into fine smokes, thick clouds or big lumps. One can improvise Holi powder by mixing starch with color dye then sifting and drying it for days. I want to give emphasis on the sifting and drying part for the powder should be fine enough to spread smoke in air; otherwise it would always fall heavy in globules. For the lighting, I used strobes at the three corners of the setups for I wanted to light the model and the vivid color clouds. Since the colored powders I bought were only limited to the colors red, magenta, orange and violet, I decided to add blue color gel to add more dynamism to

speed

the scene. We set the shooting location outside my model Dwightâ&#x20AC;&#x2122;s home at night time setting. This is because the shoot would be indeed causing a lot mess from the powder and we want proper ventilation for the safety of everyone. We were shooting in the middle of a street with no lamp open, which is good since everything else in the background would be rendered pitch black. When we started shooting, we experimented on how we should scatter the colored powder. I first asked my model Dwight to release the powder in his hands as he reaches midair on his trick move. Realizing that it has little to no effect when photographed, we decided to sprinkle the

powder all over Dwight â&#x20AC;&#x201C; his hair, shoulders, arms,

If you have difficulty getting the right focus, have

hands and his skateboard. As he jumped off his

a flashlight or lamp with you for your camera to

skateboard, the camera captured the impact of

detect your subject well. Using the autofocus

his trick with the colored powder exploding in the

lamp of your camera costs you more time to get

air. We repeated the process several times until

the composition well and more battery life would

got the shot shown in the previous page wherein

be consumed.

he would be spreading his arms wide and the colored smoke resemble his majestic wings.

You can experiment on different colors of powder by pigment or by lighting through color gels. Try

To capture the peak of the action, shoot without

also to capture the powder with slow shutter

looking at the viewfinder so that you would have

speed. Powder action shoots are fun to explore

a better view of the scene. Also pre-focus your

with other extreme or sport activities. It can be

subject before he would spring into momentum.

also applied to concept portraits that have an airy surreal touch.

Cloud nine

speed

beyond the brilliance

light play Photography is defined as â&#x20AC;&#x153;drawing with light.â&#x20AC;? Properly lighting the subject is essential for without light there would be nothing but pitch darkness. It can also be creatively directed and shaped to be an enhancing element to further show your concepts. It can have color by adding color gels or filters. When a video projector is used to light the subject, light can have texture. It can be shaped into different effects through light painting. In this chapter, we would explore on how to play with light to give conceptual portraits shining brilliance.

Cloud nine

The Visionary Video Projector-Lit Portraiture

The concept It was a great honor to collaborate in a photo shoot with Paul Quiambao, the photographer who captured the sceneries and school events of the University of Santo Tomas so majestically the UST entitled him to be its Neocentennial photographer.

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Strobes or flash units

I wanted to embody the great significance of

Snoot

the University towards him, on how his five year

LCD video projector

experience at UST helped him grow and develop

Desktop or laptop

his true potential. Paul continues to capture the beauty of the University and inspire the Thomasian community with his photography. In return, UST strengthened him to become a man of faith. To materialize this concept, I projected his notable photographs on him using a LCD video projector.

Magic lantern To

display

images,

the

LCD

projector sends light from a lamp through a prism that separates light into panels of red, green and blue.

It was the matter of directing his pose and

As polarized light passes through

composition depending on which of his photograph

the panels, individual pixels can

was projected on the scene.

be opened to allow light to pass or closed to block the light. The combination of open and closed pixels can produce a wide range of colors In the projected image.

light play

The Visionary

Photo shoot setup of The Visionary

The procedure First I chose which of Paulâ&#x20AC;&#x2122;s photographs would

400 and use a prime lens with a wide aperture to

fit the shoot concept. His photo of the UST Main

allow more light to enter the camera while having

Building when it was flooded during a typhoon

a decently fast shutter speed.

served well for the concept for it gives drama and a sense of intimacy in black and white.

similar way fluorescent lighting does, so better

In terms of clothing, when the photograph has

adjust the white balance early to avoid the green

less detail and less subjective, I made Paul wear

cast. Shooting in RAW would be helpful too since

shirts with designs, like the photo on the previous

you can later have more options in choosing the

page. But when the photograph has more detail,

preferred white balance.

such as the UST Main Building photo, I made him wear a plainly designed jacket. That way, the details of both grounds complement.

Take note that LCD gives a greenish tint in a

The diverse collection of Paulâ&#x20AC;&#x2122;s photographs gave me more opportunities on how I would direct Paul on his poses. For instance, when I displayed

I balanced the camera settings to proper

one of his seascape photographs, I made him

exposure. Since projector light is a form of

pose as if he were shooting with his camera and

continuous light, I had to increase the ISO by

tripod at the rocky shores.

light play

At some point of the shoot, I explored more

Portraiture

with

projector

lighting

can

lighting variations on the setup. Since his iconic

explored more in a multitude of possible

UST Main Building photograph is in contrasting

concepts and executions. You can either make

monochrome, I tried to make him stand out from

the subject blend in the background or have the

the projected background by adding a snoot light

background black while the subject is patterned

with a flash power of 1/128 behind him. The flash

with the light.

power was very low for the ISO is too sensitive for flash and I filtered the light with a snoot to concentrate the light in Paulâ&#x20AC;&#x2122;s hair. Coincidentally, the hair light made him look as if he is enlightened through the endless grace bestowed by UST

Aside from photographs, wild patterns and abstract motifs can be used to accentuate your subject. Illustrations and paintings work well too, and it is better if the concept dictates there is a connection between the projected illustrations and the subject photographed.

The Visionary

The Multiman Multiple Personas Captured by Multiple Flash Exposure

The concept

The ingredients

I consider Balaram Ochangco as a multi-man â&#x20AC;&#x201C; someone who possesses multiple personas. He does excel in every persona he has: wushu, running, photography,

videography,

art

directing,

and

playing the saxophone to name a few.

SLR Camera Normal lens Flash units Color gels Tripod

I pitched to him that Iâ&#x20AC;&#x2122;ll photograph those multiple personas into one shot. The twist was I had to produce that authentically in camera, which means I will not use any post processing techniques to pull off the shots. This could be only possible through

No magic involved

multiple-flash exposure wherein in one long span of exposure the flash would fire several times. To add more interest to the shoot, I used different color gels to the flash.

An authentic photograph that has

been

done

multiple

exposure contains random small specs of different color. Called hot pixels, these are caused by either long exposures or high ISO, and they can only be seen if you zoom in large in your computer.

light play

The Multiman

Photo shoot setup of The Multiman

The procedure I have decided to portray Bala into a trinity of

I wanted to have sharp details (in case Bala

his alter egos â&#x20AC;&#x201C; his wushu side, his photographer

would slightly change his position) and make the

side, and his runner side. To make the final output

background pitch black. After getting the suitable

more visually interesting, each persona will be in

flash power, I made my assistant pose three times

different color: cyan, yellow and magenta.

in different positions with each change he would fire the flash unit in his hand. Most flash units

The challenge for this shoot is producing all the effects in-camera. One option is to use the multiple exposure feature of a digital SLR. For

have a test button where you can fire the flash manually. The result was he was exposed three in a row in one exposure.

film cameras, the film can be rolled back to overlay the photograph. Unfortunately neither of

To further exercise the technique, I asked my

the two options was available for me. The only

assistant that every time he would change his

way I could pull this off is having a minute long

pose and position, he must change first the

exposure.

color gel before firing the flash. At the second position, he should change the color gel again,

To start off, I tested the flash power if it is enough to light my model on a small aperture since

light play

and so forth. Getting the right technicalities, I later commenced the shoot proper.

The challenge difficulty elevates with his outfit

flash fired, I covered the lens with a cardboard.

changes â&#x20AC;&#x201C; from his wushu uniform and fan for the

This way the camera will not receive any other

first pose, shirt, tie and camera for the second

light while my assistants help Bala change for the

pose; to his runnerâ&#x20AC;&#x2122;s jacket for the final pose.

second pose. When Bala had changed his look

Since only his top changes throughout the frame,

and the yellow color gel inserted, I captured the

I made him wear the shirt and tie so he could

second pose. The same procedure follows, this

easily wear and remove his wushu uniform and

time the flash is equipped with magenta color

runnerâ&#x20AC;&#x2122;s jacket.

gel. Finally the last pose is captured and the camera processed the photograph in a moment.

The process goes as follows. First I prefocus Bala with a flashlight. After making my assistant set

Unless the phantomlike effect is desired, it is

the flash unit with a cyan color gel, I started the

better for the subject to be positioned at distant

exposure by capturing his first pose. After the

areas to make the composition more believable.

The Multiman

Lux Musica Transforming Music into Light Painting Portrait

The concept

The ingredients

The harmony of lights and music is an extraordinary experience.

connect

this

with

the

musical

relationship of Cathy and Kyle. Their interests in music differ: Cathy prefers chill alternative tunes, while Kyle chooses sprightly dance beats. Despite the contrasts, they compensate their differences through their harmonizing love.

SLR Camera Normal lens Strobes or flash units Umbrellas Color gels Tripod Flashlights or LED strip lights Colored cellophane paper

To interpret this concept, I will incorporate their

Foil paper

portraits with light paintings that simulate their musical preferences. The light painting tools were modified to match the intensity and mood of the music. To keep the subjects properly exposed and in good sharpness, the slow sync flash would be used again for this shoot.

Painter of light In the 1949 artist Pablo Picasso drew one of the earliest and iconic light paintings through the help of photographer Gjon Mili. Of all of these, the most famous is known as â&#x20AC;&#x153;Picasso Draws a Centaurâ&#x20AC;?.

light play

Lux Musica

Photo shoot setup of Lux Musica

The procedure We first experimented on the corresponding light

For the technical setup, I mounted the camera

painting styles that would represent the musical

on tripod to keep the composition steady. One

preferences of Cathy and Kyle. When the camera

umbrella light was placed at the right to light

records in long exposure the LED strip light

the subject and a strobe with color gel placed at

swept into motion, the camera captured long

the opposite side to separate the subject from

smooth bands of light. To add color to the light,

the light painting. I adjusted the flash power to

we wrapped the LED strip light with colored

properly light the subject under long exposure.

cellophane. We chose the LED light bands to signify Cathyâ&#x20AC;&#x2122;s love of chill alternative music. Next we tried to use colored foil paper in light painting. When the foil paper was wobbled while being illuminated by a flashlight, it generated wild kinetic sparks. And when the head of a flash light was wrapped with foil paper, it created electric

In order for a light painting portrait to be executed in the best way possible, it is suitable that it should be done in a pitch dark room and the background should be dark colored or black. This is to avoid any unnecessary motion blurs and to render the light paintings in fine quality.

light band. These light painting styles would befit

First I shot the light painting portrait of Cathy.

to symbolize Kyleâ&#x20AC;&#x2122;s love of upbeat dance music.

We wrapped two LED strip lights with yellow

light play

and magenta cellophanes. After I locked focus

paper with a flash light. Another assistant waved

on Cathy, we turned off the lights, started the

a blue foil-wrapped flash light in freestyle. To

exposure in bulb setting, and the assistants

make Kyle pop out from the cool colors of the

waved the strip lights in waving motion. After

lights, I added an orange color gel to the left light.

a few seconds of light painting, I prompted the assistants to exit the frame and then I released the shutter causing the strobes to fire at the end of the exposure.

Lastly I composed both Cathy and Kyle into one shot. The light painting styles were also merged – the smooth yellow sweeping light bands from Cathy’s and the purple kinetic sparks from Kyle’s.

Next I shot Kyle’s portrait. We did the same procedure as Cathy’s but with a variation of light painting style. One assistant wobbled the magenta foil paper while another lit the wobbling

There are many other ways of forming and interpreting light paintings portraits. It’s just the matter of exploring and experimenting with different light tools, modifiers and maneuvers.

Lux Musica

Shroud of flames Fiery Fashion Portrait with Light Painting Simulated Flames

The concept In deciding concepts for the photo shoot series, I made sure to include the personification of two contrasting entities – frost and flames. First of the diptych is the fiery queen of flames: to be portrayed by top model Aya Abesamis.

The ingredients SLR Camera Normal lens Strobes or flash units Umbrellas Color gels Tripod

In relation to human personality and character, a

Flashlights

person who has a “flame” within is warm, inviting

Colored cellophane paper

and loving. She gives a radiant glow that gives light,

Foil paper

warmth and inspiration to the people around her. Character wise, Aya fitted very well to the concept. I will be using again light painting and slow flash sync into this shoot. This time I would be imitating

Light brothers and sisters

shrouds of flames by modifying the light painting

There are groups of artists who

tools with improvised materials.

exclusively dedicate themselves to the art of light painting. They customize

themselves

with

different light painting tools and explore extensively the creative potentials of light painting in different scenarios and concepts.

light play

Shroud of flames

Photo shoot setup of Shroud of Flames

The procedure My make-up artist Anna did a great job in styling

with layers of strips of orange cellophane and

Ayaâ&#x20AC;&#x2122;s hair and make-up in a fire motif. Stylist

gold foil paper. The result was the secondary

Joma pulled out gowns and accessories to fit for

sparkling yellow flames. Combining the lights

the fierce flame queen.

together, I got the orange brilliance and crackling texture of fire.

Originally I would be using real fire to the shoot, but since it would be risky to execute, I

The setup consisted of one umbrella at the right

alternatively resorted to light painting instead.

side and a fill light with red color gel on the

I then devised a way to simulate faux flames

left side. The camera is mounted on a tripod

through improvised materials which are foil

to stabilize the shot. Again, the shoot is done

paper and cellophane.

in a dark room with a black backdrop at the background to make the faux flames radiant

I had two flash lights with me; one emits brighter

through the dark.

than another. The head of the brighter flash light

was wrapped into a ball with orange cellophane.

On shooting, I first locked in the focus on Aya.

The result was the primary brilliant orange flames.

After that we turned off the lights, started the

The head of less bright flash light was wrapped

exposure in bulb setting, and the assistants

light play

waved the modified flash lights in motion. After

He created a flaming ball as if Aya was forming a

a few seconds of light painting, I prompted the

fire ball, and another simulated a crown of flames.

assistants to exit the frame and then I released the shutter to end the shot.

Themes and concepts for light painting portraits may vary on how you modify your lights to

We experimented on handling the flash lights. To

your preference. You can use light painting to

change the intensity of the brighter flash light,

illuminate the surroundings as if it was set on a

my assistant changed the speed of waving the

futuristic setting. There are a multitude of tools

light and at times he directly pointed the flash

that can be used for light painting â&#x20AC;&#x201C; sparklers,

light into the camera. As a result, the orange light

candles, fiber optic lights, glow sticks or mobile

also transforms into yellow and white. The less

tablets. Experiment on how to shine the light

bright flash light needed more time to expose, so

sources into different shapes and sizes through

my assistant waved it in a certain position longer.

specific movements or self-devised modifiers.

Shroud of flames

light play

beyond the glow

ultraviolet Ultraviolet light is invisible to the naked eye. But its effects can be recognized through the glowing chemical reaction of substances when exposed to a light source emitting ultraviolet light such as a black light. These certain types of substances absorb the ultraviolet radiation and emit light back; thus we see fluorescent objects glow when placed under black light. The luminescent effect of ultraviolet has been used in aesthetic purposes â&#x20AC;&#x201C; both in visual and performing arts. In this chapter, we would use black lights and fluorescent materials to add a luminous touch to conceptual portraits.

Shroud of flames

Somnolence Luminous Elements Under Ultraviolet Light

The concept This was my second collaboration with fashion and beauty blogger Crizeel Ong. Because she is also a fine arts graduate and she pours her creativity into make-up, I asked her if she can pull a creative makeup styling that would look wonderful under ultraviolet light. She gladly accepts the challenge and we came up with a concept wherein she

The ingredients SLR Camera Lens with a wide aperture Black lights LED video light White panels Fluorescent face paint Ladder

would be the tranquil entity of the night sky. Her facial features would radiate in the dark through fluorescent make-up. To set the right mood for the shoot, only black

Ultraviolet

lights and the LED video light will serve as lighting

The black light lamp has a dark

all through out. White fabrics will also be used so

purple filter material, either on

that the model will still pop out against the dark.

the bulb or in a separate glass filter in the lamp housing, which blocks most visible light and allows through UV, so the lamp has a dim purple glow when operating.

ultraviolet

Somnolence

Photo shoot setup of Somnolence

The procedure Even though this was the first time Crizeel had an

as reflectors at sides. I found the setup not

ultraviolet shoot, she came prepared with a look

illuminated enough so I added in a LED video

that befits the concept. She painted her eyebrows

light but I toned down its power just right to fill.

neon green with hints of blues and oranges; her eyelids in neon green, blue and violet, and her lips in bright neon orange. I bought her blue feathery eyelashes for her to customize and indeed she did; she dabbed fluorescent pink face paint onto the tips so that her eyelashes would still pop out in the dark. Her final look made her resemble to a magical neon fairy of the night. I set a textured fabric on the floor for Crizeel to lie down on. I put two fluorescent lamps side by side to increase the brightness, and to fill out the contrasts I placed white panels serving

ultraviolet

Crizeel wore a simple gray dress which was good enough to not distract the facial make-up. I felt the composition lacked something, so I asked my assistant to drape Crizeel with a white veil. The veil worked well for she was then highlighted by it without being overpowered. For the prop, I painted a small glass jar with fine splatters of fluorescent pink goache. This would then be signifying a jar of glowing fireflies (or pixies, depending on your interpretation.) Interestingly, neon pink and orange are rendered identically under black light.

Since I’m working with black lights alone, I used

One of my assistants arranged the jar and the

a lens with wide aperture and a high ISO. I also

veil as if the nightly mist poured out from her jar.

suggest shooting on a tripod and slowing down

This art direction was unexpected for me, and

the shutter speed. This is to allow a properly

I was very thankful for him. Which brings us to

exposed photograph without dealing with the

a valuable lesson in communicating with your

noise of ISO. In my case I didn’t use a tripod for I

creative team. Be open minded to their ideas,

was shooting above the subject.

comments or suggestions. You’ll never know how

I first shot Crizeel in ground level and she did

great their thoughtful contributions would be.

serene slumbering poses. Still not contented

Exploring ultraviolet photography is exciting. For

with the outcome, I changed my perspective by

starters, acquire a black light source that is safe

climbing up a ladder and photographed her. The

for aesthetic use and examine how each object or

new viewpoint was indeed better.

element would glow under ultraviolet light.

Somnolence

Tempest Maiden Animating White Garments in Ultraviolet Light

The concept In the Spectress shoot, I have portrayed a phantomlike ballerina in surreal air. I want to push the concept of personifying air into a different level of atmosphere. I envisioned an azure queen who is control of malevolent winds. When she strikes her white veil, raging tempests arise from her fury.

The ingredients SLR Camera Normal lens Black lights Strobe or flash unit Blue color gel White cloth

The shoot involves slow sync flash setting with the ultraviolet lighting. White garments glow into a bright blue under black light, and it is worth experimenting to transform ordinary white cloth into grandiose formations of winds.

Whiter than white White

fabrics

normally

glow

under a black light because modern

detergents

contain

phosphors that convert UV light into white light. This is the same reason why whites look â&#x20AC;&#x153;whiter than whiteâ&#x20AC;? in normal sunlight..

ultraviolet

Tempest Maiden

Photo shoot setup of Tempest Maiden

The procedure

Anna styled her own make-up with a silvery

White garments would react to the ultraviolet

touch. She painted her lips blue to match the

light by glowing into bright blue on a dark

theme. She wore a white long wig I pulled out

setting. Not all white objects glow under the

from a friend. We improvised her white gown by

black light. For example, the white wig had less

using a white blanket to complement her white

to no reaction. It is better to test which fabric

tube top. To complete the queen look, she wore

would react well, though it would still depend on

faux crystal tiara, earrings, necklace and bracelet.

what look you want to accomplish.

Two black lights were lined down at the ground.

When shooting, I first lock the focus on Anna. She

A strobe in snoot with a blue color gel was placed

would then play with a lightweight white cloth in

at the rightmost area of the setup. The reason

various movements. At every peak of her move,

why I use a snoot was because I only wanted the

I would release the shutter and the flash fires.

strobe to light only Annaâ&#x20AC;&#x2122;s head, and I did not

Since Iâ&#x20AC;&#x2122;m executing slow sync flash, I had been

want the light to spill all over, otherwise the black

capturing both the motion of the white cloth that

light motion trails will not be that visible. I used a

had been rendered into waving blue aura and my

blue color gel to balance the overall bluish light.

subject Anna in different poses.

ultraviolet

We experimented with different compositions.

choice (Camera Faithful or Camera Standard) to

From a portrait shots where I gave more emphasis

retain the same color and tones as seen in your

on her facial expression, we later switched to full

camera LCD.

body shots where she became more playful in her overall poses for body language here was more significant.

When shooting black light in motion, I suggest either the subject should be closer to the black light source or there should be more black light

A note on this shoot that the photos produced

lamps to illuminate the scene. The more ultraviolet

here have a rich palette of blues. When shooting

light present, the more brilliant and brighter the

in RAW, I find out the Adobe Standard profile

reaction of fluorescent objects. Aside from white,

of the Camera Calibration in Adobe Photoshop

you could experiment with other materials of

Lightroom renders the blues flat. I recommend

various fluorescent colors that you can set into

switching that into the camera profile of your

glowing motion.

Tempest Maiden

100

Nightcrawler Energetic Portrait Using Strobe, Continuous & Black Lights

The concept I wanted to depict the wild and feisty soul of nightlife â&#x20AC;&#x201C; burning passion and loud exhilarations euphorically swiveling under bright and vivid lights. My friend Jox perfectly embodies my concept for he does enjoy the thrills of nightlife.

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with

f/1.4

f/1.8

aperture

opening) Strobes or flash units

To get the ecstatic feel of my concept, I had to

Black lights

combine different light sources, namely strobes,

LED video light

continuous and black lights and shoot in slow sync

Color gels

flash. Unlike my previous slow sync flash shoots,

Umbrella

this shoot involves more technicalities â&#x20AC;&#x201C; I have to

Fluorescent face paint

capture my subject, his motion and the glow of his fluorescent make-up. Glow in the dark Phosphors are substances that give off light or fluoresce when they are exposed to light. That glow is the result of the losing of energy by phosphor electrons after they momentarily undergo a higher energy state due to gaining energy from light.

101

ultraviolet

Nightcrawler

102

Photo shoot setup of Nightcrawler

The procedure My make-up artists Anna and Kimberly rendered

blue light balances out the strobe light from the

tribal

bluish light given by the black lights.

make-up

bold

strokes

and

vivid

fluorescent colors on my model Jox. They teased his hair in an unruly fashion to match the wild concept. Since the shoot would be generally be capturing bust shots, I asked him to go topless to further emphasize his make-up. Jox also wore a glow stick necklace and at times a fluorescent accented sunglasses to finish the look. For the lighting, two black lights were placed near Jox to illuminate his fluorescent make-up. The LED video light inserted with red color gel was set at the left side to capture Joxâ&#x20AC;&#x2122;s motion. An umbrella light with a blue color gel was placed at the right side to freeze Jox in sharp detail. The

103

ultraviolet

To set the mood, we played upbeat club music during the shoot. In this manner Jox would be stimulated to feel the concept and perform authentic moves. Besides it would be difficult for someone to give wild party poses when no music is playing. The shoot went as follows. I prompted Jox to enjoy the music and do dance moves especially the upbeat hook of the music plays. As I captured the peaks of Joxâ&#x20AC;&#x2122;s dance moves, I intentionally do slight shakes and movements to the camera to intensify the motion capture.

The results were surprising. The bold make-

For instance, hip hop performers usually wear

up was rendered in sweeping motion blurs and

neon clothing. While they are wearing those,

partly some remained sharp due to the flash fire.

make them perform a dance move then capture

At some point Jox’s face was captured twice and

the move using the ultraviolet slow flash sync

the faces were separated by blurs. Indeed we had

technique.

captured a very energetic portrait of a nightlife

performed, the more spectacular the neon

thrill taker.

motion blurs will be rendered.

While there are different ways to style face

You can also do similar effects in light painting

and body paintings, animating fluorescence

using simple fluorescent materials such as neon

is not limited to body art. Neon clothing and

paper. Effects would vary from neon smoke to a

accessories exist and you can form conceptual

multitude of neon fireflies. It’s up to your vision

energetic shoots by playing with neon fashion.

on how you’ll shape ultraviolet into masterpieces.

The

dynamic

the

moves

Nightcrawler

104

Astral Deity Fluorescent Body Paint Portrait on Black Light

The concept When fluorescent paint or face paint is flickered into fine dots of splatter, they resemble multitude of stars in the dark. This inspires me to do a shoot that embodies the heavenly bodies â&#x20AC;&#x201C; an otherworldly divine ruler of the celestial lights. I chose Joma to pose as model for the shoot for his slender body can project poses that are fluid enough for the concept.

The ingredients SLR Camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Black lights LED video light Orange color gel LED video projector

The shoot will primarily use black lights to illuminate

Desktop or laptop

the fluorescent body paint. To add more depth

Fluorescent face paint

and color, I will be using an LCD video projector to lightthe background with images of the outer Beyond invisible

space.

Fluorescent inks and dyes can look invisible under visible light, yet they will appear bright when exposed

ultraviolet

light.

That is why fluorescent marks are placed into money bills to identify

counterfeit. Forensic

scientists use black lights to detect fingerprints and body fluids.

105

ultraviolet

Astral Deity

106

Photo shoot setup of Astral Deity

The procedure My model Jomaâ&#x20AC;&#x2122;s hair was styled in a neat pulled

Pushing the concept and the technique further,

back hairdo. Make-up artists Lea, Kimberly and

I set up a laptop and projector to display on the

Anna collaborated in pulling off a celestial body

black backdrop a stock art image of stars in outer

art. The trio designed an extraterrestrial eye

space. I positioned the projector in a way its light

makeup with matching long neon pink false

would not hit the model. (Later on I let some of

eyelashes. Lea added paper puncher-cut neon

the projector light partially lit my model, which

bits into Jomaâ&#x20AC;&#x2122;s forehead and sides of the eyes

results I found fascinating.) I added the LED

to further highlight the face. And for the finishing

video light with an orange color gel at the right

touch, fluorescent face paint was applied into his

side to provide fill and complementary light from

hair and body. Various neon colors were flickered

the purple light of the black lights.

using a toothbrush and a thin plastic card. I used a lens with a wide aperture and high ISO

107

I first shot Joma on a plain white background.

for the lights were continuous and they required

The black lights were placed adjacent to him to

higher light sensitivity. Another option here is

make the fluorescent make-up glow bright. The

to shoot on tripod and a longer shutter speed,

simple setup was a great way to start the shoot.

provided that the model will remain stationary.

ultraviolet

I chose a stock art image of stars in outer

stand out in with other facial and body features

space that would complement the colors of the

hidden in the dark. With this you can experiment

setup, so I settled down with the one that had

with defying perception with artistic illusion, like

predominantly red-violet and hints of orange

painting the skeleton figuratively.

and purple. To accentuate the colors I used a warmer white balance. Altogether, the body art, the projection and the colors fit really well for the celestial concept.

There are a lot of themes and concepts that you can integrate with shooting fluorescent body art under ultraviolet light. Aside from galactic and tribal themes which I had covered in this book,

Another technique you could do with ultraviolet

you could explore more concepts from fantasy to

is that you shoot your subject in a pitch dark

futurism. Remember that ultraviolet photography

room and the black lights are positioned a bit

would definitely work on concepts that envision

farther. This would make the fluorescent make-up

a supernatural glow.

Astral Deity

108

109

ultraviolet

beyond the ethereal

infrared Normally, infrared light is absorbed through an infrared-blocking filter in the camera sensor. When that filter is removed and replaced with a filter that blocks visible light, the camera then captures images in the near infrared range. Visually the images produced by an infrared camera look surreal and vivid. When used in portraits, facial features seem to glow in otherworldly radiance. Despite its unconventional effect, infrared photography can be artistically applied to conceptual portraits. In this chapter, we would capture portraits using an infrared converted camera to compose subjects in an air of ethereality.

Astral Deity

110

Autumnal Grace Faux Autumn Setting through Infrared Photography

The concept

The ingredients

One of the reasons why photography enthusiasts enjoy

shooting

infrared

because

under

infrared light, foliage turns into other colors and photographers have the creative freedom to explore what colors they want to appear. I then want to illustrate a graceful dame who is in one with

Infrared converted camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Reflector

the earth, a white butterfly fluttering on the orange autumnal surroundings. While my previous infrared portrait shoot has rich bold tones, this shoot will have soft earthy feel.

Surrealscape

This is because the shoot was done at a cloudy day

The state in which the colors

when light is very soft and diffused, plus I applied a

of an object appear naturally in

depth of field technique.

our eyes for the object is lit on visible light is called true color. Inversely, false color is when the object is seen in different colors due to the object exposed to other spectra of light such as infrared or ultraviolet.

111

infrared

Autumnal Grace

112

Photo shoot setup of Autumnal Grace

The procedure Infrared portrait photography is only possible

object such as white paper, or find one in your

in either infrared film for analog cameras or an

photographs. The camera would then set the

infrared converted camera wherein the sensor is

right balance suitable for infrared shooting.

modified to receive infrared light. Though infrared photography is possible through inserting an infrared filter in front of the lens of a regular SLR, that setup requires long exposure to properly capture an infrared image.

Infrared photography is very unpredictable; images captured through infrared look bizarrely different than those captured in the usual visible light. Before setting an infrared photo shoot, check first every element of the shoot on how

113

With the auto white balance setting, infrared

it will be interpreted by the infrared converted

images are extremely red-tinted. You have to

camera. Usually, foliage such as grass and leaves

adjust the white balance to a preset setting to

would be rendered blue; the blue sky would be

capture the images composed blues, oranges,

rendered in dark tones of brown or orange, and

blacks and whites. To do so, set the white balance

everything else would be in monochromatic with

setting to preset, and when the camera prompts

an unusual tonal range compared from normal.

to find a reference photo, either shoot a white

For skin tone, it would appear porcelain-like.

infrared

The orange autumn foliage is simulated by inverting the values of the red and blue channels on the Channel Mixer.

Before shooting, I checked first if the make-up

adjacent to her to provide fill light. I positioned

would appear well in infrared. Through trial and

the infrared camera in front of the leaves from

error, we discovered that make-up should be

another shrub. With the leaves partially blocking

applied in dark tones in order for it to appear

the lens and the camera set with a wide aperture

in infrared. Most of the time make-up would be

opening, I created soft feel to the portrait.

rendered in monochrome, although there are bright colors that appeared in blue (in similar manner foliage does).

You have to do post processing to turn the blue color of the foliage to autumn orange. In your photo editing program (such as Photoshop)

We shot our model Dane at a park. There we

you have to switch the values of the red and

found a row of large shrubs. I then asked Dane to

blue channels in the Channel Mixer. Then you

slightly lean at the shrubs and do several poses.

can adjust more the tones and colors to your

A reflector, held by my assistant, was placed in

preference.

Autumnal Grace

114

Mors et Vita Themed Infrared Portrait at Noontime Outdoor Setting

The concept Life and death – these are two states of the circle of life. In life there are sufferings and tribulations, but in death there is nothing but peace and tranquility. In other words, while alive, one may feel “death”, and while dead one may feel “life”.

The ingredients Infrared converted camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Reflector

Such unearthly theme fits to be shot in infrared. It is a good time to shoot by midday when sunlight gives strong contrasts; in infrared, this contrast will be interpreted to better tonal range and colors. But Day of the Dead

since midday light casts deep shadows, a reflector is needed to balance out the contrast.

The

stylized

Dia

Muertos

skull make-up signifies both the commemoration

the

dead

and the overcoming the fear of death

and

Flowers,

celebration

particularly

life.

marigolds,

are associated with the Mexican belief that their scent would help the souls of the dearly departed in guiding back to earth on the day of the dead.

115

infrared

Mors et Vita

116

Photo shoot setup of Mors et Vita

The procedure Lea, our make-up artist, first experimented with

thorn crowns he previously used in his shoots.

the make-up on how it would appear on the

For the flower crown, we arranged faux flowers

infrared converted camera. The black face paint

made of plastic into a headband.

to be used on the Death persona worked well, and the dark blush would suitably tone and

In preparation for the shoot, Lea styled Deeâ&#x20AC;&#x2122;s make-up. For Dee represented the Death persona,

contour the face.

Lea designed her with in Dia de los Muertos style. regally-ornamented

White face paint was not needed for the look

gowns from fashion designer Tatie Aquino. I

since infrared already made her face porcelain

wanted to have a formal classy touch to the

white. Mayi, portraying the Life persona, did the

shoot, and her designs fitted well for my concept.

basic clean make-up for herself.

Complementary to the concept were the crowns

I wanted the colors and tones to be strong and

of the models. The crown of thorns represented

vibrant so we decided to shoot at noontime

the sorrows of the living, and the crown of flowers

when the sun shines the brightest. Since this was

represented the bliss of the dead. Designer

a shoot taken outdoors at noontime, we brought

Jonard willingly lent me his designed golden

with us a reflector to counter the strong contrast

Meanwhile

117

infrared

pulled

out

By red-blue channel conversion, the blue and brown colors captured by the infrared converted camra are inverted.

and to tone down the shadows in the eyes caused

the red-blue channel conversion.) Even black

by the light source, the sun, located high above.

fabric translates into bright. This is why infrared photography may not be generally applied to

Since this we were shooting under the bright sun, we took short breaks on a shaded area from time

fashion photography, unless white clothing such as wedding dresses will be photographed.

to time. Everyoneâ&#x20AC;&#x2122;s comfort and safety is still the priority for every shoot.

You can freely explore and experiment with the ethereal possibilities of infrared photography.

It is fascinating that infrared light renders the color of clothes differently. In reality the gowns Dee and Mayi wore had grayish-blue and beige

Your subjects would resemble majestic porcelain figures, and you can complement them in place full of trees, old interiors, or outside the streets.

colors respectively. But under infrared, they were rendered bright blue and white (yellow due to

Mors et Vita

118

Enchanting Allure Dual-Colored Infrared Portrait Using Strobe and Continuous Lights

The concept I wanted to portray a charming enchantress, a femme fatale possessing a supernatural allure that would smitten her targets gracefully. Pauline meets my expectations on being the model for this concept for she indeed has beautiful eyes and facial features fit for an alluring belle.

The ingredients Infrared converted camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Strobe or flash unit Studio fluorescent lamp

In this shoot I will be using two different lights: strobe and continuous. Both give different color to the infrared converted camera, and we will explore that feature in producing a darkly charming portrait. Blue flame Despite the warm light emitted by incandescent light bulbs or fire, they tend to appear blue incamera when captured using an infrared camera.

119

infrared

Enchanting Allure

120

Photo shoot setup of Enchanting Allure

The procedure Pauline had an Eastern semblance, so for the

The color of different light sources varies when

make-up Mylyn and Raina emphasized her eyes

they are photographed in infrared. Sunlight

with dark eye shadow. Pauline brought with her a

and flash both render subjects in bright blue.

lot of bracelets and a large ethnic neck piece to

Surprisingly even yellow light sources such as

complete the alluring femme look.

candles and incandescent light bulbs are blue in infrared. Fluorescent light bulbs and LED lights

Balancing

the

two

lights

was

once

again

challenging. Since strobe light is too strong to be exposed on a high ISO which on the other way appropriate for continuous light, the continuous

however give a yellow glow at infrared. And when ultraviolet and infrared are combined, the black light gives a very dim blue light but all fluorescent objects exposed to black light glow into yellow.

light served as the main light, while the strobe

121

light served as the rim light and it was positioned

During the shoot Pauline played with a cloth in

far from the model to decrease its intensity. I

various flips and twirls. When the cloth flapped

used a lens with a wide aperture so that I could

wide and covered the strobe behind her, it

get enough light from the fluorescent studio

resembled her blue aura radiating brightly from

lamp without using high ISO.

her charms.

infrared

When shooting infrared, I recommend shooting

yellow from the strobe. You have the freedom

in RAW format than JPEG. The latter made a

of altering the colors aside from yellow and blue

stronger contrast and darker colors; whereas in

by adjusting them via Hue/Saturation and/or

RAW it preserved the original tonal range and it

Selective Color in Photoshop.

helped me bring back the rich tones and colors of the shoot.

With the various light sources reacting differently in infrared, you can explore more on how you

I skipped the usual red-blue channel inversion

can use that aspect creatively in your portraits.

for I preferred the original colors in camera; I just

Perhaps work with a portriat concept that involve

adjusted the brightness, contrast and warmth of

blue flames from candles; or go in depth with a

the photographs. Following the process I have

conceptual portrait with the fluorescence of neon

done with the previous infrared shoots, the skin

materials under black light but photographed

then would be blue under fluorescent light and

using the infrared converted camera.

Enchanting Allure

122

Veil of Frost Strobed Infrared and Double Exposure for a Wintry Portrait

The concept In deciding concepts for the photo shoot series, I made sure to include the personification of two contrasting entities – frost and flames. Second part of my frost-flames diptych is the queen of frost to be portrayed by top model Zandra Nicole Sta. Maria.

The ingredients Infrared converted camera Lens with a wide aperture (preferrably 50mm or 85mm with f/1.4 or f/1.8 aperture opening) Strobe or flash unit Umbrella

In relation to human personality and character, a person who has a “frost” within is cool, collected and peaceful. She gives a chill aura that makes the people around her feel calm and soothing. Wood effect

Character wise, Nikki fitted very well to the concept.

The ethereal look of objects

The setup for this shoot features the use of strobes

when captured through infrared

in infrared photography. The snow will be simulated

through the in-camera multiple exposure feature of

Wood effect, named after Robert

a SLR camera.

Wood, a photographer who first

sometimes

coined

discovered such properties.

123

infrared

the

Veil of Frost

124

Photo shoot setup of Veil of Frost

The procedure Make-up artists Mylyn and Raina checked first

the skin of the model already turned porcelain

which colors of the make-up would appear well

like. Her complexion smoothened without the

on infrared. It turned out that color blue looked

need of a concealer. Also, her eye irises appeared

almost the same in infrared, so they used blue

brighter as if she wore designed contact lenses.

eye shadow to give shade to the eyes and lips. To make Nikki’s hair look frosted, they applied blue and silver washable color hairsprays.

For the lights I positioned an umbrella on the right corner as the main light and a strobe behind the model to light up the details of the veil.

Fashion designer Jonard let us used a gown of his own design. It has an ornate strapless top, a translucent veil with floral motifs, and the petticoat consisted of soft layers of white veil.

To give flexibility to our model Nikki on her poses, I first took a photograph of her posing, and then I took a shot of falling “snow” which can either be small fragments of tissue paper, the globules

125

Usually to make the skin tone look cold and ice

of Styrofoam, or even potato flakes. I would

as snow, make-up artists would apply make-up

then combine both shots through the multiple

airbrush techniques, and that would cost more

exposure feature of the camera. If your camera

time and effort. Whereas on infrared photography,

does not have this feature, and you still insist

infrared

on having the snow effect without the use of

infrared portraits. The photo on Page 108 has

post-processing techniques, use multiple flash

originally the blue tones of the Veil of Frost shoot.

exposure: during a long exposure, fire the flash

After adjusting the Color Balance by increasing

first on the subject, make the subject leave the

the reds and magentas and selectively changed

composition, then fire the flash again when the

the color of Nikki’s hair, lips and make-up to a

“snow” is scattered on the scene. This, however,

scarlet tone, I had transformed the Nikki from the

would take trial and error to establish great shots.

queen of frost to a vamp wandering in the snow.

Without

infrared

You can also explore also infrared portraiture on

converted camera already got the frosty blue look

black and white. Skin glows in a milky complexion

my concept called. But through experimenting

and eyes tend have more detail. You can use it

with color adjustments in Photoshop I then

on concepts that involve noir, drama, surrealism,

realized the creative possibilities of shooting

mystery, or whatever you feel it would suit best.

any

post-processing,

the

Veil of Frost

126

127

infrared

beyond the flow

aqueous Water has flowing properties. When an object is submerged into a body of water, it slowly floats in poise and light matter flows in buoyancy. Light scatters onto a medium of water; science calls this refraction. Objects underwater may appear differently compared when they are above surface thanks to the refractive properties of water. Water is also called the universal solvent for numerous substances can dissolve into water. In this chapter, these properties of water will be exploited to photograph conceptual portraits in an illusive flow.

Veil of Frost

128

Blossoming purity Pristine Entity in a Bath of Milk

The concept The virtuous spirit of a pure-hearted soul is very awe inspiring to be captured. I presented this concept brief to my friend Tin, and she was willing to collaborate as both model and make-up artist.

The ingredients SLR Camera Normal lens Strobes or flash units Umbrellas Stepladder

The idea is that I want to depict the pure heart with

Kiddie pool

her hair and white dress flowing. For a creative

Black cloth

twist, I will shoot her in a pool of milk so that I can

Milk powder

get both the flow aspect of water and the pure

Starch

white setting of a high key photo shoot.

Flowers

Beauty of milk Royal figures such as Cleopatra and have the

Elizabeth

historically beautifying

England acclaimed

benefits

milk baths. Milk baths help to clean the skin, provide natural exfoliation, and tend to soften and smooth the skin when done on regular basis.

129

aqueous

Blossoming purity

130

Photo shoot setup of Blossoming Purity

The procedure Tin applied golden make-up by herself. She wore

For lighting I used umbrellas located at opposite

a simple white gown, and accessorized herself

sides of the pool. One light had a stronger flash

with faux golden bracelets and necklace.

power than another for I still wanted to shape dimension on Tinâ&#x20AC;&#x2122;s features and not making them

We acquired an inflatable kiddie pool that was big enough for Tin to lie down. We filled the pool with water to a level Tin would be submerged. A

flat. The light should bright enough to make the milk water white without blowing up the features of my model Tin.

pillow was added to support Tinâ&#x20AC;&#x2122;s head. As Tin entered and lay down in the milk bath, she A genuine milk bath uses whole milk alone, but it would be costly to acquire. We then resorted in using powdered milk and starch as thickener. We slowly mixed two kilograms of powdered

rested her head on the pillow for her comfort. We added white flowers on her hair and drops of honey to add hair texture. We placed yellow and orange flowers floating onto the milky surface.

milk on hot boiling water in a pan. In a separate

131

pan we combined a box of starch with cold water.

I used a step ladder to shoot Tin at a high level.

Powdered milk dissolves faster in hot water, and

This was challenging for most of the time I shot

starch dissolves faster in cold water.

her upside down and I cannot predict if the

aqueous

shots were good unless I climb down the ladder

conceptual

photography,

you

not

and check the photos at the camera screen.

necessarily have to acquire expensive and over

Alternatively, I could have set the camera on a

the top materials to express your concepts. The

crane, device a remote to trigger the shutter, and

gown that Tin wore was only bought at a thrift

attach an LCD screen to check the composition

store. Yet, she resembled a pure divine goddess

of the shots.

in the photographs. It takes vision, creativity and resourcefulness to produce brilliant and

As the result of the aqueous medium, Tinâ&#x20AC;&#x2122;s short

breathtaking imagery from scratch.

hair transformed to that of a pixie. The milk water complemented well with the white dress, thus

Aside from milk, you can use other solvents to be

the setup further highlighted the role of Tin as a

added into the water, provided that they are non-

divine pure-hearted entity.

toxic and safe for the modelâ&#x20AC;&#x2122;s skin.

Blossoming purity

132

Metallic Siren Fluidity and Color in Motion

The concept Creativity in conceptual portraiture starts when you combine different concepts in one photograph. I wanted to combine the colorful edginess of glam rock and the phantasmagoric beauty of a mermaid. For the second time Kimberly posed for this shoot for she can strongly relate with the concept.

The ingredients SLR Camera Normal lens Strobes or flash units Umbrella Stepladder Kiddie pool Black cloth

The shoot comprises of several elements: shooting

Silver material from umbrellas

Kimberly in a pool of water to make hair and

or reflectors

clothing flowy, setting up a three-light setup with each light flashing different colors, and making silver reflective materials submerged into the pool Femme fatale

to complete the theme. In

Greek

mythology,

sirens

were dangerous and beautiful creatures sailors

that

with

lured

their

nearby

enchanting

music and voices to shipwreck on the rocky coast of their island.

133

aqueous

Metallic Siren

134

Photo shoot setup of Metallic Siren

The procedure For make-up, Kimberly stylized her eyelids with

In order to achieve a multicolor lighting, I set

an edgy blue and purple eye shadow reminiscent

three strobes with color gels in a triangular setup:

of glam rock. She painted her lips in deep

one equipped with an orange gel, another with a

plum, and added gloss for a metallic finish. For

magenta gel and one diffused with an umbrella

wardrobe, she wore a golden metallic blouse and

and inserted with a cyan gel. I intended to use

black leggings with various silver and golden

those three colors for they complement with one

rings, bracelets and necklace for accessories.

another and they blend nicely when combined through lighting. The orange and magenta lights

Similar to my earlier photo shoot with Tin, we

were hardly lit, while the cyan light was soft to fill.

also got an inflatable kiddie pool although it was smaller than what was used before, yet Kimberly

To get a better angle on Kimberly, I had to

can fit through the pool with no worries.

position myself above on a step ladder, and shoot Kimberly upside down. Alternatively, I could have

The pool interior was first covered with black cloth. Next, silver reflective materials from the umbrella lighting and reflector were added into the pool. Water was then later added.

135

aqueous

set the camera on a crane, have a remote trigger to release the shutter distantly, and attach the LCD screen to check results.

observed

that

the

water

psychedelically

You can also experiment other ways of shooting

reflected the three colors from the strobes. I then

water-submerged portraits. A common concept

asked Kimberly to do swift moves in posing such

is the Shakespeareâ&#x20AC;&#x2122;s Ophelia wherein the female

as splashing the water or quickly drifting her

model is submerged either in a pond or a pool

arms; as a result, the water splash and droplets

with floating foliage and flowers surround her.

also resemble colorful gems.

Using your creativity, you can give twists and variations to those existing themes. Also, you

The silver materials flowed freely into the water and reflected the lights. The metallic surface made the light scatter akin to crystal formations. With the silver material draped around Kimberly, she resembled a beautiful slumbering siren on the colorful marine crystals.

could try shooting the portrait with running or flowing water but in slow flash sync. The animated water would look like ethereal wisps of light while your subject is intact. Experiment with strobes, continuous and even black lights, and see how they could enhance your submerged portraits.

Metallic Siren

136

Floating Grandeur Underwater Portrait Bathing in Sunlight

The concept I want to show a majestic portrait of a woman draped with flowy cloth and garments. While this concept is possible by shooting in a studio setting and experimenting with shutter speed to the

The ingredients SLR camera Underwater camera housing or waterproof camera bag Various fabrics and cloth

desired motion, a different enchantment occurs when this shoot is taken beyond the studio; and to be specific, under the water. This shoot teaches how to make the most of underwater photography in capturing an illusive femme de grace. Larger than life Subjects when seen underwater tend to be closer than when seen above water. This is because of refraction when light rays are bent to a different direction as they travel from air to water., and waves travel slow on water.

137

aqueous

Floating Grandeur

138

Photo shoot setup of Flowing Grandeur

The procedure Anna applied basic make-up and made her lips

set and fixed before inserting the camera into the

vibrant red. She wore a mask with a black and

waterproof camera bag. If changing the settings

gold design. She wore layers of translucent

is necessary, e.g. change of natural lighting, get

clothing over her swimwear and faux pearl-

out of the water, safely remove the camera from

beaded bracelets.

the bag, and change the settings. Be sure to have your hands dry when removing and re-inserting

I set my camera inside a waterproof camera bag. Waterproof camera bags are much cheaper than genuine underwater camera casing, but camera

the camera back, otherwise moisture will be trapped inside the bag, and that would cause the lens to be cloudy moist.

bags are difficult to handle at first for they tend

139

to float in water (adding weights inside may ease

Water has refracting properties, thus objects

the problem), and it is hard to adjust settings

appear to be larger underwater than on air. That

aside from the shutter release due to the bagâ&#x20AC;&#x2122;s

is why I had to use a wide angle lens to capture

rigid material. Before shooting underwater, make

Anna in whole. The problem with using a wide

sure the camera settings such as aperture, shutter

focal length is the tendency of distortion which is

speed, ISO, focal length and white balance, are all

very unflattering for portraits

aqueous

To avoid distortion, use only a 14mm focal length

piled them together and used them as a part

or higher, and keep a decent distance between

of the dress. When she posed underwater, the

you and the model.

fabrics flow gracefully in the water.

It is important in natural-lit underwater shoots

There are a lot of creative opportunities one can

that the water is clean and there is enough

explore in underwater portraiture. In terms of

sunlight to light up the water. The sun shines

composition, you may want your subject to get

bright mostly by noontime between 10 in the

close with the surface of the water to capture

morning to 2 in the afternoon; take advantage on

the reflection, or go deeper in the water and do

those times.

concepts common in regular shooting but flowy and surreal when underwater. Take advantage

In the swimming pool, Anna brought with her fabrics of different color and transparency. She

of the flowing properties of the underwater in executing your conceptual portraits.

Floating Grandeur

140

Aqua Phoenix Dramatic Underwater Lighting through Waterproof Strobe Light

The concept The final shoot of my series personally reflects my life journey. The phoenix though it burned and died into ashes triumphantly resurrects and soars again in glory. I too can relate to this phoenix legend â&#x20AC;&#x201C; there are many trials and tribulations occurred in me that made me fall, but through the strength built from divine grace and trust-molded relationships I

The ingredients SLR camera Underwater camera housing or waterproof camera bag Underwater strobes or flash unit Air-tight

food

containter

for

flash Various fabrics and cloth

have risen and soared high. To depict such magnificent entity, I chose to shoot the concept underwater for poses can be more fluid

Underwater strobes

and graceful. Lighting wise, I will use an improvised underwater strobe to create a very dramatic feel.

Off-camera flash and strobes works

due

communication flash

receiver

radio

signal

between and

the

trigger

devices. However radio signals do not travel underweater, so for underwater strobes to work, a sync cord must be connected from the strobes to the camera.

141

aqueous

Aqua Phoenix

142

Photo shoot setup of Aqua Phoenix

The procedure Beforehand, it is important to ensure the safety

unit equipped with a radio flash trigger inside an

of your model(s), your team and yourself on

air-tight food storage container large enough for

shooting underwater to avoid any mishap.

a flash to fit inside. Unfortunately radio signals do not travel underwater, so I can only submerge the

Like the previous shoot, once again I set all camera settings beforehand and placed my camera inside

camera bag in the water, and I cannot go deeper otherwise the flash would not fire.

a waterproof camera bag. I equipped the camera

143

with a wide angle lens to have a large coverage

As a skilled swimmer, Jobo showcased graceful

despite the water diffraction. Since I would be

underwater poses; also he made good use of

using an underwater strobe and I wanted the

the vibrant red cloth in highlighting the light and

subject to be well-exposed and the surrounding

flowy ambiance of water. A striking photograph

background water dark, I used a small aperture

I captured featured him spreading his arms and

opening and a fast shutter speed.

the cloth like a flying phoenix.

There are specially designed strobes that can

In order for me to capture Jobo as sharp and clear

be used underwater. But alternatively, normal

as possible, we had our shoot by late afternoon

strobes can be used. In my case I placed my flash

when the sunlight was bright enough to for the

aqueous

auto focus of the camera to function yet dim

length made my model Jobo look elongated, but

enough for the camera set in small aperture to

it further emphasized his body extending like a

render the water in dark azure blue.

glorious phoenix soaring high.

You would notice that the closer the camera

Aside from swimming pools, you could also try

to subject, the clearer the subject would be

shooting underwater portraits at shores, but

captured; and the farther your camera to your

you should use scuba diving gear when you are

subject, the more the subject blends in the water.

pursuing to shoot at a deeper level. Take note

This is why wide angle lenses are commonly used

that color fades as the subject goes deeper in the

in underwater photography for they can get a

water or farther from the light source. You can

wide coverage of the subject in a closer distance.

also experiment with underwater light setups.

Yet again, be aware of the distortion a wide

And most importantly, explore which concepts

focal length gives. For my case, the wide focal

would be better depicted under the waters.

Aqua Phoenix

144

Photo Shoot CRedits

145

Model: Dannielyn Zosa Hair & Make-Up: Chezka Aguilos Assist: Wei Huang & Alain Sy

Models: Kristine Francisco & Jobo Nacpil Make-Up: Maya Victoria Rojas Designer: Mica Villoria Assist: Henriette Baes, Elijah Cruz, Noa Fernando & Alain Sy

Model & Make-Up: Kristine Cusipag Veil: Germaine Patdu

Model: Kristine Francisco Make-Up: Maya Victoria Rojas Designer: Mica Villoria Assist: Henriette Baes, Elijah Cruz, Noa Fernando, Jobo Nacpil & Alain Sy

Model: Dianne Castillo Hair: Henriette Baes Make-Up: Maya Victoria Rojas Assist: Noa Fernando, Mylyn Kalayakan, & Jobo Nacpil

Model: Catherine Ramos Make-Up: Anna Camille Pielago Assist: Kyle Shih

Model: Dane Villaluz Hair & Make-Up: Kimberly Baylon

Model: Anna Camille Pielago

Model: Jobo Antonio Nacpil Make-Up: Anna Camille Pielago Assist: Sid Bernales III

Photo Shoot CRedits

Models: Janet Chang & Ken Lavin Hair & Make-Up: Kristine Cusipag & Anna Camille Pielago Designers: Ana Fango & Maria Astrud Villanueva

Model & Styling: Jan Nico Favis

Model : Henriette Baes Make-Up: Maya Victoria Rojas Outfit: Cathy Ramos

Model: Wei Huang Hair & Make-Up: Chezka Aguilos Assist: Alain Sy Mask: Jan Nico Favis

Models: Jhasmin Magararu & Kristel Lim Make-Up: Jessica Murphy Hair: Lively Iradiel Assist: Noa Fernando & Alain Sy Designers: Erika Arceo & Tin Lapid

Model: Dianne Castillo Hair & Make-Up: Maya Victoria Rojas Assist: Noa Fernando Designer: Erika Supan

Model: Allyza Brucelas Hair & Make-Up: Anthea Bueno Assist: Chris Casas, Jobo Nacpil, Bien Panganiban III & Ragine Tumulak

Model & Hair: Nicole Pechon Make-Up: Janeea Izaken Aldana Assist: Lynne Cruz

Model: Kimberly Baylon Make-Up: Anna Camille Pielago Dress Piece: Erika Supan Veil: Germaine Patdu

Photo Shoot CRedits

146

Photo Shoot CRedits

147

Model: Yojiboi Esquillo Assist: Carl & Jominque Esquillo

Model: Dwight Avila Assist: Joseph Ramirez, Edward Mariano, Jules Avila Vergara & JM Selerio

Model: Paul Qiambao Grooming: Wilmark Jolindon Assist: Henriette Baes, Elijah Cruz, Noa Fernando, Euclid Reyes & Alain Sy

Model: Balaram Ochangco Grooming: Anna Camille Pielago Assist: Lynne Cruz & Noa Fernando

Models: Catherine Ramos & Kyle Shih Make-Up & Grooming: Cathy Ramos Assist: Tsio Basilio, Noa Fernando, Charm Li単an, Jobo Nacpil, Roxann Ng & Jerico Torres

Model: Aya Abesamis Hair & Make-Up: Anna Camille Pielago Designer: Joma Bernardo

Model & Make-Up: Crizeel Ong Assist: Jayson Cruz, Noa Fernando & Jobo Nacpil Veil: Germaine Patdu

Model & Make-Up: Anna Pielago Wig: Mikee Tanquilut Accessories: Maya Victoria Rojas

Model: Joshua Gonzales Hair & Make-Up: Anna Camille Pielago & Kimberly Baylon Assist: Sid Bernales III & Jobo Nacpil

Photo Shoot CRedits

Model: Joma Bernardo Make-Up: Kimberly Baylon, Lea Chua & Anna Camille Pielago Assist: Elijah Cruz, Noa Fernando, Andrew Megano, Jobo Nacpil & Maya Rojas

Model: Dane Villaluz Make-Up: Genevieve Marie Son & Dane Villaluz Hair: Bien Panganiban III Assist: Maya Victoria Rojas

Model: Dee Cruz & Mayi Garcia Make-Up: Lea Chua & Mayi Garcia Designer: Tatie Aquino Flower Crown: Lea Chua Thorn Crown: Jonard Palteng

Model: Pauline Lapus Hair & Make-Up: Mylyn Kalayakan & Raina Sy

Model: Zandra Nicole Sta. Maria Hair & Make-Up: Mylyn Kalayakan, Raina Sy & Anna Camille Pielago Designer: Jonard Palteng

Model & Make-Up: Kristine Cusipag Accessories: Mylyn Kalayakan

Model & Make-Up: Kimberly Baylon

Model & Make-up: Anna Pielago Outfit: Kimberly Baylon & Cathy Ramos Veil: Germaine Patdu

Model: Jobo Antonio Nacpil Assist: Henriette Baes & Maya Rojas Outfit: Ana Fango

Photo Shoot CRedits

148

Index A Abesamis, Aya, 16, 86 Adobe Lightroom, 99 Adobe Photoshop, 99 aqueous, 127 B background, 30 ballerina, 60 black light lamp, 92 body artist, 20, 24 bokeh, 42, 45 C cellophane, 84-85, 88-89 channel mixer, 113, 117 collaboration, 20 color gel, 80, 134 colored powder, 68-71 conceptual photography, 16 D Demarchelier, Patrick, 46 depth of field, 37 Dia de Muertos, 114 F false color, 110 fast shutter, 64, 68 film camera, 32, 80 flash light, 84-85, 88-89 front curtain sync, 60, 63 G golden hour, 28 gouache, 50 H high key, 28 hip hop dancer, 64 Holi, 68 hot pixel, 78 I infrared, 109 K kaleidoscope, 46

149

Index

L LCD video projector, 20, 74-77, 104, 106 LED strip light, 84-85 LED video light, 62, 106 light painting, 82-89 light play, 73 light streak, 30, 59 low key, 28 M make-up artist, 20, 24 maximum flash sync, 64 milk bath, 128 mirror, 48 model, 20, 22 multiple exposure, 63 multiple flash exposure, 78 N nude photography, 24 O Ochangco, Balaram, 78 Ong, Crizeel, 92 P phoenix, 140 phosphores, 96, 100 Picasso, Pablo, 82 Popstar Pikoy, 56 portrait painting, 53 posing, 26 props, 30 prosthetics, 20, 24 Q Quiambao, Paul, 20, 74-77 R RAW, 62, 76, 99 rear curtain sync, 60, 63 reflector, 116-117 refraction, 136, 138

S siren, 132 skateboarding, 68-71 slide film, 32 slow flash sync, 58, 96, 100 slow shutter, 56 SLR, 32 snoot, 76, 98 soft focus, 38 speed, 55 Sta. Maria, Zandra Nicole, 122 T toy camera, 32 true color, 110 U ultraviolet, 91 underwater casing, 138 underwater photography, 136, 139, 140, 143 underwater strobe, 140 University of Santo Tomas, 20, 74-77 W wardrobe stylist, 20, 24 warming gel, 66 water splash, 66-67 window light, 40 Wood effect, 122 wushu, 80-81