Shan and I have been friends for years and often enjoy working together. The beauty photo series we planned uses the Punk as its topic. I wanted the theme not only to be visible in the hairstyle and make-up, but also in the picture itself. To create the desired mood I chose a white wall as a background, so I could generate blue shadows on it and at the same time give the model’s skin a natural look. As a first step I tried out different blue filters on my assistant and my stylist.[Read More]
For all the time photographers spend worrying about color reproduction, and lighting their subjects, far too little attention is paid to the importance of light after the photograph is taken. Until you spend some time actually doing a comparison, it is hard to believe how much difference ambient light — the light that just happens to be there when you edit, print, or display your images — makes to the appearance of images.[Read More]
In this tutorial we will show you how to adjust the white balance to compensate for the color casts that can be caused by certain kinds of artificial lighting (such as tungsten or neon), so as to give your images a more natural look.[Read More]
The majority of my work involves portraiting actors, musicians and celebrities – time and again in unusual locations, sometimes on the set, but also often in the studio. I love creating ever new portraits, but of course I don’t want to repeat myself – sometimes that’s not so easy, when you stand in a white-painted studio … maybe there’s also a requirement to produce a portrait with a neutral background (so that it can be used for a variety of purposes), sometimes the time-window is very short so there’s little room for flexibility.[Read More]
Its not rocket science; but the lighting of a color target requires a clear understandings of the functions, and the light sources, involved. This article will break down the various factors. The ideal way to light a target is with a single point light source at a great distance, at 45 degrees to the face of the target, with no other lighting. The rest is all details…[Read More]
What a request for a photo production: “Mr. Nachbar, can you photograph four historic Ferraris for us, for illustration in a big format calendar?” My heart as an advertising photographer and aficionado of historic cars took a leap after the first sentence already. The extent of the production and the requirements towards my team and me were defined quickly and clearly: We had to stage four unique Ferraris, manufactured between 1952 and 1970, on location, that should yield a nice twelve-image series for a picture calendar.[Read More]
One of my team’s specialties is the staging of beautiful interiors in small spaces. We have been photographing for the leading manufacturers of sailing and motorboats as well as motorhomes for many years now. Be it on wheels or or on the ocean, we try to tell the story of great freedom with luxurious living space with our images. A few weeks ago we were shooting this year’s new products for the European market leader in motorhome construction, Hymer AG. In this production report I want to go into some of the peculiarities and solutions of interior photography.[Read More]
Portrait photography can be as simple, or elaborate, as you want to make it. There are photographers who limit themselves to head shots or small group portraits, and others whose range includes on-location lifestyle sessions that involve complex lighting setups, mixing ambient with controlled artificial lighting, and more. At the start, they all have at least one thing in common: lighting and color controls.
This article will be written in three parts: Part One will include information and tips about lighting equipment and selected fundamentals of exposure management, Part Two will deal with planning and executing lighting setups, and Part Three will discuss use of color management tools from Datacolor, including the SpyderCUBE and SpyderCHECKR.[Read More]
In my opinion, the old rule about “building your lighting setup one light at a time” still holds true. I generally build them up piece by piece, metering as I go for each light, and for the aggregate. I’ll use a simple high-key portrait setup as an example.
It’s important to note here that digital exposure is even more demanding that shooting transparencies. In fact, some people hold the opinion that 1/10 of a stop can be important in controlling a number of factors, ranging from highlight or shadow detail to color.[Read More]
It may seem that the testing, adjustments, and color correction described in this article are challenging and time consuming. Certainly, a bit of practice is needed to master these skills. You’ll find that once these techniques are in place, you’ll produce images that have far better depth and detail, and more accurate color – and in the end, you’ll spend far less time in post-production. That means more time behind the camera, making great images![Read More]