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The awesome low light setup for glamour

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Today part II in my favorite glamour lighting setups

In the previous article we talked about a more flat light setup, today we are going the opposite direction. As mentioned my favorite photographers were often working with high contrast and low key setups. So today I want to share one of the most awesome setups for glamour in my opinion. And you don’t need a lot.

For the main light it works best when you use a striplight, it can be done with a small softbox and grid, but if you want that nice “beam” of light effect a striplight works best.
In this setup I’m using the Geekoto 48″ striplight. I started with the smaller 36″ version but to get the light the way I wanted from feet to head I ended up using one step longer. The nice thing about these two Geekoto strips is that they are both the same width, so you can really mix and match them in setups without losing focus on the model.

The same effect can also be done with the Rogue “Frank Doorhof” Flashbender in stripligh configuration. Meaning you can always use this setup on location or in the studio with just one strobe and a very portable light source.

The trick is to place the light behind the model aimed slightly forward, now change the height for the area the light will hit, higher means the area lit will be wider, placing the light closer means the beam of light will get narrower. The angle and the depth of the grid determines the light hitting the background. If you have the perfect setup but need more or less light on the background and you can’t solve it with angles or grids… keep everything the same but just move the model and the light backward (more light on the background) or forward (less).

The effect is great and really nice for body scapes and moody shots.

Shot during a recent workshop with Claudia.

And of course always include some extra images where you walk around your model.
Sometimes it works, sometimes not and sometimes it will surprise you… but that’s a story for the next blog post.

 

 

 

The lighting setup for awesome glamour

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Vintage and pin-up photography and lighting

I love vintage glamour and pin-ups.Starting with George Hurrell, Avedon, Newton, to David LaChapelle.
And when you also want some insights into one of the best models in this genre, pinup/burlesque, make sure to check out Dita Von Teese, who wrote a great book about both being the model, stylist, and makeup artist.

In the next two articles, I’m going to show you two of my absolute favorite setups with vintage and pin-up photography and lighting, but on both sides of the spectrum.  Today, I’m showing the always awesome high contrast/flat lighting setup.

 

Flat lighting for pin-up photography

It might sound like a contradiction, but even with flat lighting, you can create some great contrast.
With low-key lighting setups, we play with shadows. With this technique, I’m actually working with accent lighting and highlights, which makes the depth of the face/body of the model jump out a lot more. Plus it looks great on shiny materials, and if you want, you can also get some lens flare.

The lighting setup

The setup is pretty simple, but you do need some strobes.
Mostly, I’m using a large softbox or umbrella in the front from a larger distance from my model than normal. This is done because I also want light to hit my background. So, due to the inverse square law, you can determine how much light is hitting your background.

Move the light further away from the model if you want more light on the background. Move it closer if you want less light on the background (of course, you have to re-meter the light on the model when you change the distance).

Accent lighting

For the accents, I love to use two strip lights with grids.
I’m using the grids because I don’t want double shadows on the floor. And because the accents are aimed towards the camera, this can happen very quickly when you are not careful. So, we aim the strobes mostly slightly up when shooting full body, the grid does the rest.

And finally, I’m using one strobe with the Rogue magnetic system with grids, or the snoot for the spot in the background.
In this setup, I like to overexpose my model slightly when shooting to get an extra “glow” in the skin.

Beware:

If the accents are too close to the model, you can get lens flare.
You can move the lights further away or use flags to prevent the lens flare.

The examples during this blog post were shot during a workshop with Claudia. And in most, I kept the colors pretty low in the blues to make the red jump out more. But as you can see, sometimes also boosting the blue can be great and striking. It’s in the end a personal choice, or just deliver both 😀

Vintage and Pin-up photography and lighting

Want to see the lighting and how we photograph these vintage and pin-up set?

In this video, you can see a similar setup during a workshop.

And the images

Vintage and Pin-up photography and lighting

See www.fotografie-workshops.nl for the workshops

 

Always build in a fail-safe even if you think you don’t need it

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Photography catastrophe, when pictures are lost

Over the years we have seen some drama and photography catastrophes. As most of you probably know, Annewiek and I ran an IT company for most of our lives. One of our specialities was building custom machines.  But also being very aware of the risks people experience online and offline. Today, maybe one of the most important pieces of advice I can give to everyone that shoots tethered or just wants his/her images safe.

It’s heartbreaking to see a 70+ year old crying in the store because they lost all their memories. It does give a great feeling when we were able to get it back. But it also happened that there was too much data loss. So having a proper backup system is vital.

The problem is that hardware failure is not something you experience every day. Some people never experienced a hard disk failure (you’re so lucky). So having a proper backup strategy is something that is often neglected till something happens.

Digital has some advantages

One of the great advantages is without doubt that you can make 100% 1:1 copies, as many as you want.
You could also make copies of slides/negatives, but there is only 1 original. Everything else is a copy with some loss.
The weird thing is that with our analogue material we took really good care by placing the negatives in nice holders and sliders so they would stay protected for “ever”. However, somehow with digital we shoot A LOT more, also more memories and…. we don’t treat them with care at all. In most cases, the images are stored on the local drive or on some external drives. But how many of you really have a 100% mirror of your files in a separate location?

But today it’s not about backup strategy,  but something that is just as important. To prevent disaster.

On location or the studio, just as dangerous, or even more

A photography catastrophe does not announce itself. Today I did a photo shoot with a new model, soon more 😀
Of course I’m always shooting tethered in the studio (connected to a large display via an iPad or Laptop/Desktop) but also there a lot of things that can go wrong.

So let’s give some attention today to that workflow.

Photography Catastrophe, when it looks all your photos are lost

Option 1

As you can see, my camera has two slots.
This means you can use 2 cards at the same time. So you could set it up in Video vs Photos. Just as a second card or a mirror solution.
So there we have option 1.

Option 2

When we choose the software to shoot tethered, in my opinion, we must have an option to also store images somewhere else than only the software. For years, we had a problem with certain software solutions that would not store the images on the card but only on the machine you’re connected to. Although this is not ideal, it is pretty safe. But I would always add a small script that makes backups during the shoot to an external drive.

Option 3

Better is software that is designed to be safe with tethering.
I’m mostly using Cascable for tethering.
This is a super handy app that since the last update, runs on both my iPad and MacBook Pro.
The reason I love Cascable so much is “they got it”.
Within Cascable I can shoot into the “sandbox” but also add external folders, for example a folder “tethering” on my iPad which I can use to import the photos into Lightroom or just copy them via my MacBookPro to the NAS.

And, today this actually saved my photoshoot and a photography catastrophe was avoided.
In all the years I’ve been shooting I’ve only had a card fail on me once.
And today was card number 2.
Normally this could mean panic! Since you lost all your images.
But in this case I just grabbed my iPad and copied all the RAW files from there.

And that’s why I want to give some extra attention to RAW.

Why shoot tethered with a cable?

For ever people have been asking me “Why don’t you shoot wireless?”
And over the years I’ve tried many solutions, varying from totally useless to “works like a charm”
The only problem… You cannot shoot RAW. Well ok you can but it’s incredibly slo0000w.
So in the situations where I shot wireless I always shot RAW on the card(s) and sent 2MP JPGS over the air. In all honesty, with a proper system this works great and is super fast. But the biggest problem is….It’s not safe at all! Yes, you can use the double card trick on some cameras but not all cameras support this.

Also, because you’re shooting JPG, using presets for your client or doing quick in-between retouches, are out of the question.
So the cable for me is a vital part (till they solve the speed issue).

Conclusion, avoid a photography catastrophe!

Our digital files are much more in danger of loss than we probably realize.
Always make sure you have a proper backup of your stored files, but also always make sure you build in fail-safes during your photo shoots.
Hope this helps some of you before you find out about this article after losing your images.

For more info about Cascable see www.cascable.se
Want the best tethering solutions? check www.iqwire.nl

Read this blog about adding more storage to your Laptop 

See this blog about my NAS

Using a data projector for some really cool lighting effects

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Projectors are great for presentations and movies

But did you ever think about using a projector as your main lightsource?
Think about all the options you have when you can literally paint all your lights, sharp or soft edges, all colors you like or maybe even a whole photo. When using a projector as your main lightsource you will never run out of ideas.

Today in the blog I show you how I used our projector during a workshop for some creative lighting effects.