My good friend and amazing make up artist did a tremendous write-up on this photo series on his blog here. I'm not going to be able to say anything better or more about this series so give that a read and enjoy the photos below!
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Dani is a local model I've been wanting to work with for some time. Again, it became a game of matching schedules so luckily last month we were able to find a time we were both available. This is also the first time I've used my home studio. There's still work to be done to get it full ready for clients and other work but it's getting there!
Kesley is a local model that I've wanted to work with for some time. She's done a ton of work and always nails the look. The problem, as there always is one, is that my work with models has been few and far between lately. Editorial work has taken up the majority of my time, not a complaint!, so finding time, much less coming up with ideas, has been a difficult task. Luckily one evening I was caught up on edits and had a bit of free time when Kesley invited me out with to shoot with her and another local photographer, Blake Randall, in a local downtown area. Although we did get rained out on the original concept for the shoot we did find an overhang to create the photos below.
The most interesting part of the evening was shooting with another photographer. This was my first time working when another photographer was shooting and it was an enlightening experience. Blake does great work and shoots much differently than I do. While I, for better or worse, nearly always use a flash or strobe of some sort Blake is, I believe, primarily a natural light shooter. I learned a lot watching his approach to model placement and use of available light. It's an entirely different approach than my own and a good reminder that there's an innumerable amount of ways to approach taking a photo that I should keep myself open to.
Getting schedules to align sometimes is more of a waiting game than it is actually planning. Such is the case with working with Brittany. It's not that we didn't try to get things to work out, but our schedules just never really worked. Luckily, a few months after we first met to discuss the shoot our schedules aligned and we were both available on the same day. The up side of this is that I had plenty of time to plan what I wanted to do. Brittany was on board and nailed every look we tried. Below are the results:
Over the past two weeks my friend and amazing makeup artist Matt Goodlett, MattGoodlettMakeup.com, has taken part in makeup inspiration challenges issued by another local makeup artist. I've worked with Matt on several occasions and regardless if it's SFX, beauty, or anything else there's never been a time when he hasn't absolutely nailed the look for the photo. So when he asked me to photograph the makeup for these two challenges I quickly accepted as I knew he would kill whatever look he was going for. But even after having worked with him multiple times before and seeing him work on other ideas it's still incredible to see how quickly and skillfully he draws from a source photo and creates something beautiful.
Mandarin Duck Challenge
Matt did a great write up of this challenge on his site here that I suggest you check out. Photographing this one was fairly straight forward, Matt knew how he wanted the photograph to look and I knew how to get that look. This was more or less a simple clam shell lighting setup with a gridded beauty dish as key and a silver reflector for fill. Using a gridded light with a reflector can be tricky but it does create a beautiful light when done correctly. If I had to do this one again I would probably try an even tighter grid on the beauty dish for an even more directional light. The beautiful Kaylynn Nyree was our model here who I suspect you'll probably see doing big things soon.
Drawing Restraints Challenge
This challenge, to me, seemed a bit more complicated. No colors, no defined shapes, white background, and a ton of possible interpretations. Going into this shoot I wasn't quite sure what Matt had planned. I thought we might go with a high-key look but after seeing the makeup Matt was doing I knew that wouldn't quite work. So white was out but I also wanted to avoid a pure black background as well. With the makeup as dark as it was I was worried that the model would get lost in so much blackness. Luckily the room we were shooting in provided a solution. Behind the model was white shelving which, when tilting the key light up slightly, is barely discernible but enough so as to help separate the model from the background.
Lighting this was a bit more complicated as I wanted to, of course, not only highlight the work Matt had done but help bring out it's character. For the face, a 24"x24" softbox provides soft, beautiful light but it's a small source so it quickly gives way to the harsher rim lighting from the 10"x36" stripboxes behind the model. This contrast between the softer and harsher light matches the contrast between the the chaotic nature of the body makeup and the more controlled beauty makeup on the face. Our model, Bec E. Bien, nailed the looks and helped create one of my new favorite photos.
I love being a part of these challenges and seeing Matt's interpretations of the inspirational photo as well as all the other makeup artists who participate in these challenges. Their approaches to the same subject are all different yet equally creative and well done. Be sure to check out more of Matt Goodlett's work at his website MattGoodlettMakeup.com and pop over to my Conceptual gallery to see more work we've done together.
Continuing my experimentation with gels, I recently did a shoot with the wonderful London Amore. Still have a lot in store for using gels so stay tuned.
Matt Goodlett reached out to me last month and asked if I would be interested in shooting a body painting he was doing for a documentary. The idea he explained was inspired by Edgar Allan Poe and his poem The Raven. Never passing up an opportunity to work with Matt, I quickly agreed with nervousness about the shoot. Even with his explanation I had trouble visualizing the outcome which made figuring out the lighting difficult. Lighting a body painting, like many other types of portraits, is all about brining out the best in the subject. Here's a few things I keep in mind when lighting a body painting.
- The body painting is just as much, if not more, the subject than the person wearing it. Lighting should compliment the painting, e.g. not put details in shadows, like it compliments the person
- Consider the mood. The lighting should work with the theme. In this instance, a gloomy Edgar Allan Poe body painting is probably going to look better low-key rather than hi-key
- The lighting should not be noticeable. The lighting should enhance, coincide, compliment, but never distract from the subject(s).
With that in mind, I created the portrait below. Matt and team did amazing work and I'm happy to have worked with so many talented people!
I hate wasting time. Not my own time, I'm spectacular at wasting my own time, but other's time. It's one of my biggest pet peeves which is why I show up 15 minutes earlier to any engagement, sometimes even waiting in my car if I'm too early to whatever it is I'm there for. I also try to have have everything ready to go in my studio before the subject arrives. If we have an hour to shoot, I don't want 15 minutes of that going to them waiting while I put lights on stands. Sometimes this doesn't always happen so my subject is then barraged with thank you's for your patience throughout the shoot if they stood by while I was putting things together. It's not just about being polite and courteous but being sure the subject/client/whomever knows I value their time the same as they do. So on a recent shoot when I left my Alien Bee power cables 40 minutes away some quick thinking was needed to save not my only subject's time but the entire shoot.
So what do you do when you have Alien Bees with no power cords, no other light modifiers besides soft boxes with Alien Bee mounts, two flash guns, some bungie cords, and a roll of gaffers tape? You improvise and adapt.
The crude bungie cord and gaffer's tape adaptor luckily worked long enough to get the photo below. I say luckily but it was truly the skill of the model nailing the look so quickly that allowed a final photo at all to be made. Anyone else and the whole thing could have broken around us with nothing to show for it. The moral of the story here is to always have gaffer's tape. And bring the power cords I guess.
I'm not a fan of downtown between jobs so I try to stay as busy as possible. Inevitable there's still times when I'm caught up on everything, all my e-mails and responses have been sent, all photos have been edited and delivered, and there's just nothing business related to do. It's rare, but it happens. I try to fill these times with creative or personal shoots but things come up so that's not always possible. So last week when I had a day of down time I decided to work on product photography.
Although I have no real intentions of getting into product photography, it is good practice on lighting. Light placement, ratios, spill, power, and fall off are just as, if not more so, important on products then they are people. So the considerations made to ensure the product is lit exactly how you want are easily extrapolated to lighting a person. It's also a great way to learn how a new modifier or piece of kit works, how you can apply it to get the results you want, and then having that information to inform shoots later on. There are differences, of course, between the two genres but my approach is not to have a deliverable to a client. Rather, its more of a way to practice with lighting that only takes up my time instead of that of a subjects as well. Plus my Sekonic l-308 complains less than most live subjects even when pulling double duty as a tool and a subject.