Kitographer

Jeanswest website – Product section:

Jeanswest web screen shot

I regularity shoot/assist for photographer Dan Irea once a month on this job for a few days.

The set up is very elaborate considering final photos are destined for website only (600 pixels). The reason for this is so we get consistent high quality  photos.

Consistency is the key here. Every month JW needs accurate representation – identical perspective, lighting, contrast etc of there product. The distance from the lens to the product is the same each time along with the camera height and tripod position. These measurements were recorded and continues on each shoot.

General Lighting:
Product: (photographed on mannequins)
2 x 1×6 foot stripe softboxes either side of the mannequin.
Small 2×2 foot softbox above and slightly infront of mannequin’s head.
None of softboxes have their diffusers on them = contraster light, and more neutral in colour.
Background:
White roll of paper lit by 2 heads with umbrella’s and 1 head with softbox on boom stand pointing down behind product.
See diagram below:

All lighting gear is Profoto. This is really amazing gear. The best I have ever used. Will do a post on this gear asap.

Directional lighting adds dimension. Thus I turn down one of the main lights by half a stop. (one of the 1×6 foot soft-boxes)

Nat - Stylist - behind scenes studio DI for Jeanswest

Final shots are contoured out in photoshop with the pen tool. This takes about 1-2 mins per shot.

lighting setup for JW

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A photographer Tim Burgess whom I work closely with just upgraded his Canon 70-200ml lens to the new version 2. Released March 2010.

Shot with Canon 1Ds mark3 on tripod with mirror lockup and studio flash. 100% crop. IS was turned off. No sharpening applied. Processed out of lightroom.

The first photo is version 1 of the lens:

70-200L 2.8 IS version 1

Below is a photo produced from version 2 of the lens, released March 2010: The two black batteries are sharper.

70-200L 2.8 IS version 2

Dpreview Lens review, click here. I have seen the lens work really well in the field. Seen lots of work from it from Melbourne’s fashion festival on this month. It produces amazing sharp images of models (with movement) on runways.

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(This is some great information from my friends at Flashcards.co.nz)

This is a question we (Flashcards.co.nz) get asked a LOT!

The simple answer is – NO, they are not. The following are a few things that can make one card different to another:

* Controller Chip – this is one of 2 key components in every memory card. This is the bit that talks to the device the card resides in. It controls data transfer and also dictates a cards transfer speed. This is also where the Error Correction takes place, ensuring data integrity. Some controllers are better than others and some manufacturers buy controllers on the spot market so their quality can vary batch to batch. SanDisk for example make their own controller chips AND NAND wafers so they ALWAYS have end to end control of their quality.

* NAND Wafer Chip – This is the part of the card that stores the data. It is the raw storage tank on the card. Again, some manufacturers make their own NAND but since the factories costs Billions of dollars most card makers simply buy their NAND on the spot market from the likes of Toshiba and Samsung. Again, this can lead to quality variances. SanDisk own their own NAND Fabrication Plants and make all components in-house.

* Speed Ratings – Manufacturers can state their card speed ratings in several ways. They can state it in terms of an ‘X’ speed which usually equates to .15MB/s per 1X. So, for example 100X = 15MB/sec. They can also state it in terms of ‘Class’ or the SD consortium specs. They can also state their speed in maximum or minimum terms and also may state their read/write speeds as separate figures, confusing the matter even more. In general, here at Flashcards, we look at the maximum capable sustained write speed, stated in MB/sec terms as being the most important figure. This levels the playing field so you can compare apples to apples. Most manufacturers do publish these speeds, even if the spec is hard to locate.

Before you buy just ‘any old card from any old card maker’ make sure you know what you are getting. As is often the case in life, with memory you truly do get what you pay for! We have memory to suit every budget so if bottom line price is your main concern, we have it. Conversely, if the highest quality card and ultimate data integrity are your #1 priority, we have that too! End to end, Flashcards have it.

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This is a job I was digi assistant on in late 2009 with Photographer Jason Capobianco for Myer. He is one of AU best Fashion togs based in Sydney.

FInal Myer Catalogue Cover 09-09

The lighting setup is very basic here. See below. This is partly due to the large soft  light source. Here is an example: Bowens Oct 150cm. Lots of white in studio bounced more light around creating more of a soft look. A black wall on the models right created shadow on models right giving dimension and shape. The light source is large thus shadows behind subjects are soft. These lights can be focused rather accurately controlling the shape of the shadows. You really need a small ladder to get into the light to adjust.

Camera height was usual fashion level (around waist). We shot with H1 Body with p25 digi back using capture one pro.

Even thought the lighting setup is very basic, Jason is very meticulous about detail and all togs are at this level. He tweaked the lights, moved the models for about 20 mins before he was happy. He is great at giving instructions to models and even easier if you are shooting the likes of Jen Hawkins.

Basic Lighting Setup

Below is a lighting setup that Jason used for a beauty shot /jewelry shot with Jen Hawkins. Sorry I dont have the final art work.

Jason's Lighting Setup 2

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The Production Company Shoot – with Photographer Colin Page

This was 2.5 day shoot that I assisted photographer Colin Page. It was a hi end portrait shoot of individuals and group shots for the Production Companies new season of shows. It was a big photography production involving, many assistants, hair & makeup, choreographers, wardrobe stylists, producers and more. It was photographed at Decent Exposure in a large cyclorama.

Colin is a lighting genius and spends lots of time perfecting the light. Every set up was major and required tweaking/adjusting to light our subjects perfectly. The lighting setup gives  us a hi detail, glamorous, show look.

We used Bowens gear, about 7 flash heads and 4-5 packs. Having the large cyclorama (cyc) was great giving use plenty of room. We blacked out much of the white to give us edges on our subject. We used medium format digi to give us large files destined for large format printing (billboards).

Final Art Work 1

Main Ligting setup:

KEY: Black Poly (polystyrene) aka foam board  - used as large white/black walls, to cut ligth out or reflect it in;

detailed lighting setup from Colin Page

Behind the scenes:

Behind Colin - hear you can see all the black cutters. Top: Can you see the leg stripe lights? To our right we can see a stand with a cutter to prevent flare in lens. Bottom: We can see the head spot lights

Behind subject. Here we can see the ceiling light - bounce flash.

More Final artwork works:

Final art work 2

Final art work 3

ASSISTING on a project like this is an amazing opportunity. It teaches you many things. The energy involved on the shoot is hi and requires an assistant to be on there feet for 10 + hours a day. Always be ready for instruction from your photographer, try think ahead and use initiative. Have your assistant kit handy (bag of goodies: gaffer, pins etc) Pay total attention to client needs, regularly check if you can do anything for them: coffee, food, phone, parking etc. They need to be comfortable.

Be ready: to change lens for your photographer. Make sure they are clean ; be ready with cutters; have a pen and tape to measure tripod if need be, check that camera batteries are fully charged, pre check that comp-camera tethering is working good.

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Assisting Commercial Photographer Jorge DeAraujo.

Client = a large event hire company. They were having a xmas party and invited their clients along. Location was the Price of Wales Hotel Rooftop bar on Fitzroy St, St Kilda.

Even though the brief required just one shot, Jorge quoted 2 hours for this job. We got there 2 hours before people arrived to set up and looked at lighting conditions.

Ideally he wanted to use available light, by the time the 100 people arrived the sun was to far down. So we set up 4 lights with umbrellas.

Jorge up the ladder. There are 2 more umbrellas' behind me.

Communcation with group:

Its always good to have some help organising people. The MC at this function was willing to organise everyone and gave good instructions to people to put them into place. Then Jorge while on top of a 6 foot ladder gave final instructions to the group.

Useful information to communicate to large groups:

• Let them know that you will be taking many photos for a approx a few minutes. This prepares them that they need to concentrate and smile, keep eyes open, be visable to the camera etc.
• Let them know that they need to be able to see the camera, otherwise you (the photographer) will not be able to see them.
• Shorter people need to be at the front and taller at the back.
• Be relaxed, confident and funny – people will listen better and relax.
• Take your time, be confident and look around the group at peoples faces to see that everyone is looking (it might take 10-15 secs).
• Always take a ladder with you. Talk to client about location in detail.
• It is ideal to have an assistant as you will require a lot of gear: 4-6 lights, stands, sandbags etc.

This info can be useful also when photographing the group shot at weddings)

Final shot:

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Aperture explained: what do f-top numbers mean?

In optics, the f-number (sometimes called focal ratio, f-ratio, or relative aperture) of an optical system expresses the diameter of the entrance pupil in terms of the focal length of the lens; in simpler terms, the f-number is the focal length divided by the “effective” aperture diameter. It is a dimensionless number that is a quantitative measure of lens speed.

The smaller your f number (aperture AV number) the more light your camera sensor will see and if you have more light you can have faster shutter speeds. The cost = only small amount of your subject will be in focus.

The reverse is for larger f number. Less light gets in, slower shutter speed – more of your photo will be sharp.

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Keep on eye out on this post, I have many more books to add. If you have read some great books please add them in a post.

Light: Science & Magic: An Intro to Photographic Lighting – by Fil Hunter, Steven Biver, Paul Fuqua – Focal Press

Capture Magazine – In most major mag stores & published by Yaffa Publishing

Business and legal forms for photographers – by Tad Crawford

The E-Myth Revisited – by Michael Gerber

What colour is your parachute? 2010: A practical manual for job-hunters & career changers – by Richard N Bolles

Other popular books which have influenced my career path:

Blink: The power of thinking without thinking
by Malcolm Galdwell

What ever you think, think the opposite.
by Paul Arden

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An ACMP Seminar coming up 7th December 2009 in Melbourne.

Simon Harsent’s Website

Great video of Photographer Simon Harsent talking about his work and about Canon gear.

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Doing event photography is something I have always enjoyed. Before deciding to make photography as a career I used to take my canon ixus out every weekend and take pictures of people.

The main skill I learnt while starting out doing event photography was how to shoot in many different lighting conditions. For example in one week I could have photographed 3 events:

1. An outdoor event in the middle of the afternoon with bright blue sky.
2. An indoor event with a mixture of coloured walls and ceilings
3. Outdoor and indoor evening shoot.

All 3 scenarios pose very different lighting conditions and depending on your clients brief may  involve, long exposure shots, lots of well flashed people shots with ambient light or flashed fast moving objects. As an event photographer you need to become quick at reading different lighting situations so when you are faced with a candid opportunity you can capture the shot. More recently I have been sharing corporate events with photographers whom off load work to me because they are too busy. I am getting great feedback on my work to help me improve. This also has exposed me to to a much higher level of client.

Many social and corporate events require low light and having good quality camera’s makes life much easier. Getting a new Canon 5d mark 2 has seen the quality of my work be boosted. I can now shoot with ISO’s of 1600-3200 + and give clients high enough quality images. Where as my Canon 1d mark2 N – this is not possible. Any file over ISO 800 looks to grainy.

Preparation: Find out as much info as you can about the event. What is the main subject? What style does the client require? How many photos they require? Start and end times? etc

• Fully charge all your batteries the night before & have backups.
• Google map search the exact location and print this off.
• Be 15 mins early and suss out the environment before you begin.
• Have enough memory. 16 -32 gig
• Pen & paper – if you are asked to get names.

On the job

Meet & greet, Always shake hands with your clients. Always say goodbye. Sometimes I show my clients a few of the best photos to gage whether Im shooting their brief &  give them the confidence about my work.

• I shoot a lot on f 2.8. This gives you more light, faster shutter speed and more creative scope.
• Groups of 4-5+ people best to shoot at F5.6 and above.
• Keep people on same depth of field (DOF) – In straight line to get everyone in equal focus.
• Watch out for poles & objects near your subjects heads.

Types of shots:

• Great people shots. Photos that make your main subject look perfect.
• 
• Try creative crops. Different angles, up high, down low etc.
• Shoot detail shots. This could be product on a table, clothing textures etc. Usually I do detail on my 70-200 lens at f2.8.
• 
• Shooting people with other elements of people can give you very nice balanced compositions. It creates atmosphere.
• 
• Action shots:
• 
• Photograph the environment as a whole. As well as your subject you want to show their surrounding. So shoot with your widest lens from far back. Get to an alleviated area and shoot down.
• 
• Branding shots and branding with people.
• 

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