I absolutely LOVE number 5! What a great place to shoot. 6 is a beautiful portrait... The first setup shot is great, hope you blogged it so people can see you work!
You did a great job working with this environment. I like #8 the most. She sorta has a Leibovitz pose and light quality on her. Nice to see wp's using real lighting!
Wow, Spence. How do you carry your lighting with you? I have a travel-worthy apollo softbox that I make my husband drag around. But I will be doing a few sessions by myself and would love to know how you carry your gear with you.
Deb Brundage wrote:
Wow, Spence. How do you carry your lighting with you? I have a travel-worthy apollo softbox that I make my husband drag around. But I will be doing a few sessions by myself and would love to know how you carry your gear with you.
Thanks again all, much appreciated. I was sure excited about the results and they were as well!
I'm on my last leg home, sitting in Dallas till I board again.
Deb, I took a quick snap of all the equipment I had with me while still on the location, I'll do a quick documentation of what I brought and which bags etc . . .
You know... I'm not sure what it is, really... but I'm not feeling these like everyone else. It seems like she's disconnected from the location. Like it's one of those instances when someone was attempting to go for grunge, but the bride just didn't really fit it. It could be the poses... just sort of standing and not matching the drama of the scene.
I agree that the one with the water in the background is nice... but that doesn't show that it's an abandoned location. And I think the first one works for the location. And I love #9.... and I like 4B (the right side image).
The first set-up shot begs for a "real" version of her that far away in a sea of blue plaster. But the pool shots you have seem lacking, compositionally. The lighting is certainly fine on everything... but I don't know. I wish I was better at explaining what I'm thinking.
Hey Spencer, I've loved the work you've done with Amber and Carraig so far. This certainly is outside of your norm, and indeed a fun/cool spot to shoot. Am I to understand correctly that this was your 2nd trip to St Croix? Because the 5DII wasn't out yet when you did the e-session stuff. Must be nice to have them fly you out twice!!! Talk about primo clients (and rich).
I'm sorta with Mel and a couple others on this one, it seems a bit out of place for you-- Evan pointing out that #9 is the best (8 and 9 are my faves BTW) just goes to show that the shot showing the least of the resort is the favorite. If you had the pose in #9 with the location of #1 then #1 would be the best. I know, it sucks.. when you get good at one thing, everyone suddenly expects you to do just that style (see Dave Hill or Anne Geddes).. and here you are trying to do something else and getting some flak for it. I guess we're all just saying you are great at your style, and that superb standard wasn't quite met with this set (since this style is outside of your norm, you're less practiced at it). Good results though-- just not your usual excellent results.
Did you do any closer headshots or head-and-shoulder or 1/4 portraits? I could see those types of shots incorporating some decaying element of the resort (such as the crumbling tiles) as the backdrop.
Oh and one final question-- how did you carry all that lighting and photography gear through customs without getting some grief?
5 is the stuff bro! But where is the dang light? maybe the she was closer to the arch than she looks, but I can't see how you got the light in there. where was it?
The Grays wrote:
5 is the stuff bro! But where is the dang light? maybe the she was closer to the arch than she looks, but I can't see how you got the light in there. where was it?
I'll try and get a lighting diagram, my computer is down right now. Basically, the Octa was to camera left, and low enough not to cast any light onto the top archway, but to push all the light right at her. It was tricky to get it right without any light hitting the archway, and also keeping the Octa out of the frame as well.
