Photography News Issue 27 absolutephoto.com
27
Technique
small triangle of light on the closer side. Take the light even further to the side and you’ll end up with split lighting, which illuminates only one side of the face, creating very high contrast on the subject and is therefore likely being less flattering. When to keep it simple Of course this fine control is more suited to some subjects than others. Sarah, who’s work mainly includes babies, toddlers and children, finds she has to be highly adaptable: “As a youngster learns to crawl, walk and run, the last thing they want to do is sit still for a photography session. With that in mind, my lighting and camera settings need to be able to accommodate a bit of movement. If my lighting set-up is too dependent on the subject being in an exact spot, chances are the child Left While it’s often better to shoot energetic children with a simple set-up that allows them to move around, with adult sitters you can experiment more. For example here a rim-lighting effect adds definition.
Taking control
time, making sure to find somewhere accessible and also planning for Harriet’s comfort; I packed water, snacks and a rug, which proved essential in keeping her warmbetween shots. We also planned the hair andmake-up so that nothing was overlooked and there were no gaps in coordination. Other planning was making sure camera batteries and lights were fully charged, as well as packing spares – losing power in the middle of a shoot is not an option. “Come the day of the shoot we were lucky – the weather was dry but cold, and we got a little sun. Jen and Harriet got together to do hair andmake-up, while I formed an advance party at the location. While waiting I shot test exposures, making sure that I was balancing the ambient light with the flash to achieve the effect I wanted. Usingmy Canon EOS 5DMark III and 70-200mm f/2.8L I ended up mainly shooting at 1/80sec, f/8 and ISO 200, which underexposed the ambient light slightly allowing the flash to pick out Harriet and the dress. “I used just the one Quadra Ranger light, setting this at around half power. We we started shooting in earnest, Jen took charge of positioning the light and adjusting the power for me, basing any changes in power on its distance fromHarriet. The power was also adjusted on a couple of occasions when I opened up the aperture for a shallower depth- of-field. It is important to set a lower output to compensate for the wider f/stop. “Tomake the most of the set-up and cover different potential uses, I shot some wide, some tight, some landscape and some portrait. Then, having captured the key shots, I tried shooting through trees, and playing with the tinsel for a more creative angle. I wanted Harriet to do a tinsel toss, which I always knewwould be difficult to capture, but like a trooper she repeated it again and again, and took direction well over facial expressions, my instruction being “No one tosses tinsel in the air whilst lookingmiserable!” “Did I make any mistakes? Of course I did, it was a new experience with lots of elements coming together – but those are what you learn from. To prevent any errors in focus and get just the right poses and expressions, I’ve found that repeating shots is very helpful, though it’s not the most efficient use of time and we could perhaps have achievedmore in the couple of hours we had before Harriet all but turned blue from the cold. “I learned from it all and that’s really the only way to progress once you’ve mastered the basics; you have to get out there and give it a go on your own. Break out of your comfort zone and you will see what you’re capable of achieving.”
When Gill McGowan’s teenage son developed the time-honoured aversion to being photographed, she knew that she’d have to seek other opportunities to develop as a portrait photographer. Here she describes that transition and howmoving out of her comfort zone and tacklingmore creative projects helped improve her skills. “I had done workshops withWelshot Photographic Academy, and had fun learning about lighting with flash and working withmodels in the company of like minded people. But to produce original work I soon realised I had to strike out on my own. When you do that, all the things provided in a workshop – lighting, model, location, styling – suddenly become things you have tomanage on your own. But if you take that challenge and succeed, it’s thrilling to realise you can do it. “The first task is to gain confidence with your lighting equipment. Try different types of light, different modifiers and get to knowwhat you like. You’ll quickly feel more at home. I chose a pair of second-hand ElinchromQuadra Rangers with Rotalux 100cm square softboxes. Being battery powered, they can be used inside or on location, and so are ideal for most situations. “Then you need an inspiring subject andmy breakthrough came somewhat by chance. I’d shared a photo of a skirt made fromChristmas tree fronds with Jen Baker, proprietor of Lavender Blue Floral Design inWest Kirby, occasional stylist, model and all-round creative individual. “We both loved the concept, and that, I thought, was the end of it – until January, when she surprised me with a photo of a skirt that she’d painstakingly made fromher dismembered Christmas tree (despite a fir allergy!). “Next we needed a model and a location, picking pretty redhead, Harriet Jones, and deciding on somewhere slightly whimsical to shoot; woodland. The latter meant checking out the location ahead of
Christmas in firs Creative projects can concentrate the mind and push you into expanding your skills. Here, inspired by her friend Jen’s creation, Gill orchestrated the shoot, using flash lighting at her location. For more of Gill McGowan’s shots visit piczology.com. The stylist/creator of the skirt was Jen Baker at lavender-blue- florist.co.uk.
Did I make any mistakes? Of course I did, it was a new experience with lots of elements coming together
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