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Indirect Lighting
Summary:
In this FotoTV workshop, photographer Martin Krolop explains to viewers how to get the best results when using a shoe mount flash as an indirect lighting source.
Krolop shows viewers how to avoid the most common mistake a photographer can make when using an indirect lighting source by bouncing the light source off the ceiling. First Krolop sets the camera setting so that the only light source to reach his model is the light from the shoe mount flash unit. He starts off by directing his flash to illuminate his subject full frontal, and then he shoots another example with indirect bounce light from the ceiling. Most photographers do not realize they are still shooting with direct flash to subject light. If the model still has a line of sight to the flash, then it is not indirect lighting. This will result in off cast shadows and unpleasing tones when shooting portraits.
Since the flash is near to the camera’s axis when shooting the flash directly, the shadows fall toward the rear of the subject. When changing that to whereas the flash is first bounced off of a surface, the subject is illuminated predominately from above, which is distinguished by the top half of the photo being brighter as the bottom half.
Krolop further goes through several calculation scenarios to help photographers more easily understand the distance light travels from the bounce surface to the subject, changing the lighting distribution but not lighting characteristic.
Complementary Color Contrast
Summary:
In this FotoTV workshop Dirk Wächter, Director of the renowned D-Forum is here to discuss and explain another spectacular color shooting. Today Wächter is going to show viewers a premium color workshop that can easily be recreated, not only in the studio.
The most important aspect we learn today is how the color wheel is a great tool to study for creating premium photo shoots. Using the basic primary colors of red, yellow and blue and mixing any two primary colors will yield a color that is a complementary color contrast with the color opposite it on the color wheel. Wächter explains all of this while working not in a studio, but in a room that can easily be recreated, giving all photographers the opportunity to create high end results.
Using a complementary color contrast from the color wheel, Wächter chooses blue and orange as his set-up. Blue in the background and orange from the foreground using a Lee #204 orange color filter to place over his shoe mount flash. Working with color temperatures can be daunting for some photographers, but learning to work with color temperatures is a must for any photographer looking to expand his knowledge of color photography techniques and Wächter does a fine job explaining his methods and techniques in easy understandable terms that will give photographers an extra edge when preparing for an upcoming shoot.
Understanding the basic camera and flash setting are the only prerequisites for this workshop. It will give photographers a look at how to create special effects, from beginning to end. Wächter also gives viewers an insight on the make-up applied to the model to best complement the lighting situation.
One Light Shooting
Summary:
Photographer Martin Krolop gives FotoTV viewers a step-by-step studio set-up on how to photograph beauty or portrait lighting using one light.
Often photographers are used to the lighting set-up with a soft-box above the subject and a soft-box below the subject. The space between is where the photographers normally shoot from in a typical situation like this. But most photographers also know that this can be an annoyance, shooting from in between the soft-boxes and somehow always in front of the camera.
Krolop begins by explaining it does not always have to be this difficult and sets out to demonstrate the best method, position, and studio equipment to use to achieve the finest studio portrait lighting with just one light, and actually standing right in front of the soft-box itself—imagine that.
Focusing on all the most important technical aspects, Krolop delivers a winning tutorial and guide for any photographer wishing to create and offer clients the best work possible while keeping his finances in mind. What Krolop accomplishes in a few short moments is very easy and the costs are very economical. The setting is easy to set-up, easy to light, and easy to modulate and make mobile if necessary. It actually doesn’t get any easier than this, so if photographers are looking for a great way to enhance or improve their style and very cost effectively, then this video tutorial is the perfect way to get started.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
Reflecting the Model
Summary:
Today, fashion photographer Carsten from the Fotocommunity demonstrates for FotoTV viewers’ four different variations how to create successful shootings using reflections using simple light set-ups.
For his first demonstration Carsten starts off with a piece of latex tablecloth which is available at any hardware store. With the help of his assistant he covers a big panel with the latex and begins to make test shots
Other demonstrations carried out by Carsten include using a large sheet of Plexiglas, which is somewhat sensitive to scratches, and a wood panel with adhesive foil applied to it.
The fourth example for photographing reflections Carsten show the viewers is a common household mirror. The double reflection he creates is not as smooth as with the other variations, but indeed he has created a very beautiful reflection.
For photographers wishing to create reflection photography in their own studio need not worry. The costs are very economical and everything is found very easily either at a hardware or stationary store. When adding a reflection to your photo you are adding an extra element and a kick to your photo. This a great way to put add some simple special effects in your otherwise, regular shots.
Splish Splash
When the Glass Tips Over
Cocktails in Space
Waterdrops in Focus
Summary:
The studioCommunity is here again with another photographic trick!
This time they show how to capture flying wine in an otherwise still life. The bottle is full and immobilie, but the wine is literally jumping for joy!
The crew explains the setup and the execution with tips to improve the illusion.
Butterfly Lighting 2
Summary:
In this FotoTV film photographer Oliver Rausch, from the Cologne School of Photography in Germany gives FotoTV another helpful tutorial, this time taking a closer look at the very popular and forever timeless Butterfly Lighting" made popular in the 20's by legendary film icon Marlene Dietrich.
On hand from two fashion magazines he shows first the right and then the wrong examples of this style of Beauty photography. Then he constructs a lighting setup using various small lamps showing step by step which combination produce which results.
How do shadows created with large lamps develop, How can I with only one lamp illuminate both the model and the background are among the questions Oliver Rausch addresses here. He also gives some tips on how to best use umbrella reflectors.
Rausch concludes that plasticity is the most important element when using butterfly lighting. Rausch shows that a three-dimensional photograph of the face is clearly more pleasing than a shot produced by incorrectly placed lighting reflectors.
Hard - Direct = Soft
Summary:
In this film, photographer Martin Krolop covers the exciting topic of shooting in the style of the glossy women's magazines for FotoTV viewers.
Step-by-step Krolop points out the key elements to recreate a shooting as those seen on the covers of renowned magazines. He carefully points out the significance of having soft even light and clear sharp eyes. These techniques are being used by professional magazines and Krolop shows viewers how to use shade as a highly effect photographic instrument. By blocking out the direct sunlight over the model, he uses the natural illumination from all the objects in his surrounding scene. Everything casts a reflection due to the direct overhead sunlight and it is these reflections that Krolop cleverly uses as his main light.
Krolop's technique to achieving the soft light like that on a magazine cover is subtracting light, not adding it. Even though Krolop uses a sun swatter during this film, he will make use of anything he has nearby to use as shade, even a tree if necessary.
In conclusion, Krolop's information and demonstrations will help photographers get magazine cover quality pictures while shooting outside in direct sunlight-- simply by blocking it out.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
The 2nd FotoTV Christmas Carol
Summary:
Eberhard Schuy from Loft 2 is back again for this year's FotoTV Christmas Film. After last year's contribution, what a great christmas tradition this is becoming.
Always one to instill the seasonal spirit with creative ideas and good cheer, this film deals with blowing soap bubbles. Well there's a lot of similarities with round shapes and christmas balls. A fixture of the New Year are the champagne bubbles so why not try to incorporate this as theme. But how do you photograph soap bubbles?
Eberhard is here to explain not only how to capture them; but also how to fix the lighting so that they have a character contour. He shows us how to set the lighting and use reference point for focus to capture the iridescent properties of these floating bubbles. Never one to be easily satisfied, he takes the concept one step further. Utilizing the mirror properties of the bubbles and applying the natural laws of physic he is then able, with the help of a second lamp, to project the new year " 2011" to reflect in the bubbles. Wow! What an effect. Once you see the concept applied, you're only limited by your imagination.
Considering not everybody has a studio, he then shows us how this can be done with a simple light, a reflecting wall and image editing to cool the background. What a cool idea to reflect the New Year! Thanks Eberhard!!
Lucien Clergue
Arles 2009
FotoTV.News 6 Special about Les Rencontres d'Arles
Summary:
In this FotoTV film, photographer Lucien Clergue shares with viewers a very titillating erotic nude shooting on Salins du Midi Beach on the Provence-Alpes-Côte d'Azur, on 09.07.2010 with one of his favorite models, Natalia Iswara. The theme for Clergue's shooting for this film is water.
Regardless if it’s the way water caresses a female nude or the passionate intensity of the ebb and flow of the tide, Lucien Clergue immortalizes his images with grace and finesse. His nude images of Natalia are excellent, defined by secret shadows that curve over her over body, with water highlights that sparkle. Clergue had been given strong praise by several masters of painting and artistry. Clergue is inventive, a master of composition and of the use of light and shadow. The resulting images look effortless and natural; they are clean, sensuous yet pure, and attain a quiet, understated elegance.
Jean Cocteau described Clergue as "a poet with a camera." Pablo Picasso proclaimed Clergue "the Monet of the camera." Nudes are one of the most difficult subjects to get just right, and each viewer will have his or her own personal definitions of what is graceful, or tasteful, or altogether too much. Clergue's nudes however walk the tightrope of exquisiteness and provocation.
He clearly sees the body as natural landscape, where the curves can be used compositionally. His nudes of Natalia are covered by a flow of water, with the rounded forms of breasts, legs and bottom sinuously rising and falling, creating lines and forms that look like hills and valleys. His meticulous use of contrasts, of highlights and deep shadows, gives Clergue yet another set of tools to expand the traditional vocabulary of the nude joining seamlessly with our own sense of nude aesthetics.
Renaissance Portraits II
Summary:
In this FotoTV film, photographer and lecturer, Rudiger Schestag continues his discussion about renaissance portrait photography.
In the first film, Schestag gave viewers a practical step-by-step shooting on how to go about recreating a scene that is likened to the masters of renaissance painting. This second film is more of a “making of” and an analysis of renaissance painter, Angelo Broncino’s work.
Schestag uses the master painter’s work as a guideline of reference to use in his own photography. Schestag discusses the posing of his models at great deal as it is one of the most important aspects when recreating a renaissance portrait shooting. He tries to come as close as possible to the portrait poses of the renaissance period. Most subjects had to sit for hours, if not repeatedly over a course of days for the painter. Renaissance portraits were most made in ateliers using the light from windows or skylights. To simulate the grandeur of renaissance paintings, Schestag chooses soft side lighting with 190cm octo-box. It is also a lighting technique that modulates the models face exceptionally well. Another highlight of the shooting is the hair and make-up and wardrobe, or lack thereof.
Schestag has his stylist recreate a typical hairstyle of that period, with the middle part being very straight, giving emphasis to a high forehead, curiously feature that was in fashion at that time. Instead of using costumes, Schestag uses cloth to drape over his model. This allows him to concentrate on the character of the model rather than the clothes. It is very interesting watching him work with the model, directing her to pose like a semi-nude renaissance noblewoman and the results are beautiful. Transposing the elegance of the renaissance period to modern time.