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Jewelry Photography
Summary:
Eberhard Schuy takes us through the problems one encounters when small items that shine and reflect light like jewelry, need to be photographed.
Turning the tables literally on the subject we learn how to use the properties of the object to resolve the problems. By using the reflections we learn how to control what is reflected.
A few lighting techniques add panache to our setup. Mixing continuous reflectors and conical tubes together with various matte services any dark anomalies are easily filled with tone modulation to give the subjects just the right balance of brilliance and glamor.
And just when you think you're done he pulls out one more neat little trick to give the shot that final Pizazz that only experience and skill can bring to the result.
Still Life in Action
Summary:
Stilllife in motion actually sounds like a contradiction in itself. Eberhard Schuy shows us in this film that it can make sense to bring some action into stilllife photography. The result is enthralling and definitely wakes the viewers interest.
In this case a slice of pepper will slide through a plate full of water and induce a nice spray. A few considerations are needed in forehand for the implementation of such a set. Important is the reproducibility of the shot. The pepper must always slide through the water in the same way to get the perfect picture.
So have a look with which means Eberhard Schuy manages to control the pepper slice. Lighting and camera settings will, of course, also be thoroughly explained.
Nice Fresh Greens
Summary:
In this video Eberhard Schuy demonstrates a very special way of photographing greens. Very important: Background, Freshness and an artful shadow.
For the background Eberhard uses a white wooden plate worked on with autopolish on which the carrot green generates great reflections. He conveys the impression of freshness with small water droplets on the polished plate.
Particularly Eberhard attaches importance to the shadow. To give tthe right whistle to these he clamps two normal reflectors together.
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.