So it struck me the other day that some of my most popular/trafficked images on Flickr! were setup and behind the scenes shots. Personally, I love seeing how people arrive at the final images and how everyone works, so I thought it might be a fun exercise for everyone to share their own!

So show us an image or two, a shot of the setup you used to get it and give us a little explanation!

I'll start!

Over the weekend I had a model I'd worked with once before, Donna, come back to the studio for a test shoot. Turns out she was just signed by Click Models in Boston and is hurrying to build a full portfolio but isn't thrilled with some of the other folks she's been shooting with. This was a casual test: just the two of us, no team, she just threw some clothes in bag and came over, did her own hair and makeup once we decided what to shoot.

We shot a simple beauty look quickly, since I already had the lights set up for it. Then we moved on to a concept I'd been playing with that morning with another model:

I'm a huge fan of your behind the scenes shots on flickr. I'm a huge fan of what you do with one light. The next time you're in LA and need an assistant or a knowledgeable gawker, let me know.

Simon - your top setup is almost identical to mine in this shot - I quite like it, but I struggle to get a goodly amount of flare in the lens sometimes - very hit and miss for me.

Gorgeous shot, Brent! I actually like yours quite a bit more than mine.

You're right about the flare, though. In fact, in that morning's test I actually rotated through several different lenses to observe how different the flare was between them and was really surprised at the results. Not only was it more pronounced in some lenses, but there were dramatic differences in color, length, shape and definition. I think that, in setups where I want intentional flare, my lens choice will end up being more about achieving that flare than other compositional criteria.

The next step, once I get the free time to play with it, is going to be testing strobe angle and reflector type to see what kind of effects they have on flare and blooming.

A couple of models, two photogenic studio strobes and a speedlight.





The lights have been moved but this shows the modifiers I used for the above shot.



and finally, a behind the scenes shot from a commercial I directed a while ago.

shatterkiss: Re clamshell set-up:
Would I be able to achieve somewhat the same lighting using just one soft-box above and a reflector below? I'm trying to learn more and understand studio photography.

Thanks for sharing your set-up. Very interesting.

P

shatterkiss wrote:
Gorgeous shot, Brent! I actually like yours quite a bit more than mine.

You're right about the flare, though. In fact, in that morning's test I actually rotated through several different lenses to observe how different the flare was between them and was really surprised at the results. Not only was it more pronounced in some lenses, but there were dramatic differences in color, length, shape and definition. I think that, in setups where I want intentional flare, my lens choice will end up being more about achieving that flare than other compositional criteria.

The next step, once I get the free time to play with it, is going to be testing strobe angle and reflector type to see what kind of effects they have on flare and blooming.


I'd love to know your findings. I shoot Canon primarily, and in my experience, the 85mm 1.2 II is not very good for keeping the flare. The 70-200 f/2.8 IS is reasonably good, but you have to be firing the light right into th lens, and then the colour of the flare isn't great.

I have yet to find one that I really love - I even purchased a 55-200 just to try it in this set up, but returned it when results weren't great.

what lens did you use above? I'd be interested in sharing findings on this.

That lens above was Nikon's 17-55/2.8 AF-S - it's basically my workhorse lens.

It's not exactly a comprehensive or scientific comparison, but I went back and pulled two shots of the same setup with different lenses from that morning's test:

This is my favourite ultra-high end set up for getting close to something like a Holga shot. Throw enough light down the barrel of an expensive lens and high end sensor, and random goodness starts to happen. =)

I have an old MF 35mm nikor that I should try it out with on the D3. And I can run a lot of Canon's through the same test.

I also find placing the front reflector in different places really changes the look - also, the material used for the reflector makes a huge difference. Right now, I'm partial to those $2 space blankets you buy at Walmart all folded up. Unfolded and taped over foamcore, they make awesome reflectors - both gold and silver too.


Below, on the other hand, is an actual Holga shot using a very similar set up...

pauelv wrote:
Would I be able to achieve somewhat the same lighting using just one soft-box above and a reflector below? I'm trying to learn more and understand studio photography.

You definitely could, though I think it's a less effective setup for achieving those kinds of results. Numfar should weigh in - if you look at his work you'll see that he's a way better beauty photographer than I am.

The way I was lighting, the top light and bottom light are less than one stop apart - that's really tough to do with a reflector, especially when the key light that it's reflecting is so close to your subject. You can certainly get a broader portrait look using a reflector for the bottom half of a clamshell setup but it isn't going to give you that same luminous and glowing look that you see in a lot of beauty imagery or portraits from folks like Jill Greenberg or Martin Schoeller. That look is all about using multiple soft lights at exactly the right angles of reflectance.

Thanks for the reply, I think I understand what you're saying. I'll try to visit you're Flickr for more inspiration sometimes.

Pau

Excellent thread. More pictures, please!

From a class I'm taking...I'm learning ^_^





2 gel'd strobes and a beauty dish above

Love this kind of stuff. But, there is something I've always wondered about. How do you get locations to shoot? Who do you approach? Will some places let you shoot test shots or do you have to rent the location? Thanks.

Every location is different. Some require huuuuge permit fees. Others don't. Others will let you shoot as long as you can provide a certificate of insurance and sign an indemnity clause.

The best approach is just to stay on the level and ask. Look for a PR or media relations office. Smaller or independent organizations are often a lot more receptive to some form of "barter" - I usually offer a couple 16x20 prints as long as whatever I'm shooting there is appropriate to offer.

Jonathan H wrote:
Every location is different. Some require huuuuge permit fees. Others don't. Others will let you shoot as long as you can provide a certificate of insurance and sign an indemnity clause.

The best approach is just to stay on the level and ask. Look for a PR or media relations office. Smaller or independent organizations are often a lot more receptive to some form of "barter" - I usually offer a couple 16x20 prints as long as whatever I'm shooting there is appropriate to offer.

Thanks, Jonathan.

These are the kind of details that are absolutely essential, but aren't widely known unless you are a working professional.

set up for Sunday
i will post after to compare

Translation for the above :

Top right: "Rear kicker light, facial fill (courtesy of the reflector) and an outer hair light."

Top left: "Background flash"

Center: "Hair light"

Bottom left: "Giant white umbrella (170cm) without reflector, key light."

עמי, קבלתי את ההודעה שלך לפני כמה ימים אבל לק היה לי את ההזדמנות לענות. אני מקווה שלא הרסתי את הענין בדיאגרמה שלך!

תרגום מדויק כל הכבוד
חג שמח
עמי

O.K pic of the set

thats alot of lights for that type of end shot.

Thats Fresh wrote:
thats alot of lights for that type of end shot.

Not really. I use pretty much the same setup for for most of my "talking heads" video shoots. I also use a similar setup for portraits as well.

The lower fill catchlights look like "eye goobers" to me.

Fortunately, that's an easy retouch.

Good luck.