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October 25, 2008:
Photo Shoot at Lindsey's
Well, I was back again at Lindsey's, at her parents beautiful Italian
villa in La Canada, CA. I arrived just before Lindsey and we
discussed the itinerary for the photo shoot. We would start inside
in the entry area and work to the outside in the afternoon and get some
bridal type photos with the house in the background.
The weather on that day was a bit more stable than my last visit.
It was a nice, warm, sunny day. I took my gear and began to set it
up inside the entry way. My working area here would be cramped.
The entry had a nice variety of backgrounds, which I began to scope as
soon as I set up my gear. I am getting a lot faster at setting up and
tearing down the portable light studio. I even had time before
Lindsey was finished with her first model to relax a little, I had
produced a modeling pose 'cheat-sheet' that I forgot to bring last time.
The sheet helps me just keep my mind full of the possibilities for each
situation. It works well. I had collected a number of great
poses and filtered them in Photoshop so they were black and white rough
sketches of poses. I purposely obscured the poses to leave some
room in my own imagination to fill in the rest. While Lindsey was
preparing her first model, I reviewed this sheet.
Out came Kellie for the first round. Kellie is a tall, slender
blonde. I set up two 150 kW/sec mono-light softboxes, one up high
for the key light, and one lower and at about half power for fill
lighting. This round the monolights performed flawlessly.
They both synced and I only missed one photo for taking it too quickly.
But, I'll take that. I had Kellyie sit for a few shots for framing
and lighting. I moved the lights much closer to the model than the
last time. I realized from the last shoot that the farther away
the softboxes are, the harsher the light (you'd think it would be the
opposite). In a couple shots of Ashlie, it looked like sunlight
hitting her face, which was a nice effect, but for this round I needed
soft lighting.
The placement of the mono-lights worked, by moving these close and
powering them up, I could set my aperture to F11 and increase my depth
of field. The last time I used a 150mm telephoto at F3.5 which
made for a razor thin depth of field. It looks great, but takes
way too much time to check focusing.
I had Kellie pose in various locations, first in front of an ornate rod
iron gate, then by a narrow table next to a nice oil painting. In
the first photos, I noticed a problem with her hair, it kind of
protruded on the top and cast a shadow over her eye, so I lowered the
Key light even with her face for side lighting. It worked, no more
shadow. Lindsey does a great job with the model's hair, especially
on Kellie, so I would try to emphasize this for these photos.
Continued...->
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