Movement photography

Workshop

Workshop with Simon Tomkinson

You can use movement as a genre in itself or as a tool inside a specific genre (documentary, fashion, etc)

HISTORY & CONTEMPORARY PRACTICE
-Edward Muybride – chrono-photography
-Henri Cartier-Bresson – about the decisive moment
-Robert Capa – blurring
-Sebastio Salgado – freezing
-Nick Knight – movement in fashion

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EQUIPMENT
-DSLR camera
-lens with a speeding focus and wide width
-lighting kit (speedlight, Profoto B1 or B2, Broncolor Move or Score for top highlight range)
-reflectors
-a good stable and light tripod (Manfrotto)

FLASH How does it work ? (see great explanations)

Reminder :
Aperture controls foreground ; shutter speed controls background
In movement photography, there is Three ways to achieve your idea :

1. BLUR

2. FREEZE
What shutter speed do you need to freeze the action? It depends on the action. Here’s a rough guide:
•1/60 second for a subject posing motionless
•1/125 second for a subject standing still but swaying
•1/250 second for a subject walking
•1/500 second (or faster) for fast movements (running, jumping)
Choose a fast shutter speed.
Zoom out : it will magnify and sharpen everything
Shoot when the action has paused : at the end of a movement or at the top of a jump, the subject is still which means less motion and less blur
Pan with the camera  : track the dancer’s movement (!) not being too fast or too slow, you need to be at the same pace.

What can you do to minimize camera shake?
-Image stabilization (in the lens or the camera)
-Take burst of images (at least one will be sharp)
-Shoot between breaths to reduce movement of your body
-Use a tripod or monopod

3. Combine the TWO
(!) overexposure
(!) color balance – continuous is redder ; flash is bluer, you might need to use filters to compensate color temperature. Always set up one light at a time with the continuous first ; set up the flash light to second curtain shutter
(!)ghost figures

 

The all purpose is to get THE moment !

Matt Thompson

Non classé

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Matt Thompson graduated Graduate Diploma at LCC seven years ago. He is now a successful photographer in portrait and interior design. Here are some advices and lessons he shared during his talk this morning.

IN GENERAL

Shoot all the time, even with no reason

Assist photographers as much as possible, this is the best learning

NEVER GET YOUR COPYRIGHT AWAY, under any circumstance, for any reason

Keep looking at imagery (others photographers’ work)
Keep shooting.

A set of images always communicate a narrative and convey a story (moldboard behind)

COMMUNICATION

Photographers are super busy, they don’t have time to read email. Keep it short and clear. It’s all about speed (as well as for design of your website, reduce number of clicks)

-1st sentence : Flatter the person who will have a positive instinct feeling and like me immediately (and continue reading)
-2d : Tell why you are writing (“I would love to assist you if any opportunity arouse.’)
-3d : Tell about yourself and what you can do (“I’ve graduated at LCC, I’ve assisted a couple of photographers (names) and I’m prepared to help in any way.”)

+ you can attach some images if they’re relevant to the job you’re applying for.
(!) Don’t forget to add your contact details at the end (at least email, telephone number)

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Christine Kreiselmaier’s talk on fashion photography

Non classé

Christine Kreiselmaier studied GDip Photography a few years ago and gave a lecture on fashion photography and her journey to be where she is and who she is now.

General thoughts on photography
Every year, sit down, go back to your yearly work and assest your journey.
Fashion is a hard world to be succesful, but keep continue and be persistent
Fashion is such a small world, never lie, everyone knows everything on everyone.
During an interview, the first questions are usually the following :
Who have you assisted?
For how long have you been doing that
What have you shooted for?

TECHNICAL SKILLS
Photography is a technical job, when you understand lighting and master tweaks of lights, you can get something from everything and exactly recreate an image.
Assisting is a great way to learn by observing other people work.

MY VOICE, MY STYLE
Determine your own style and aesthetic, what makes you different and your work personal.
Determine your market to adapt your work
Create a moodboard of poses and attitudes I like tolook at if we are stuck during the shooting
Keep a journal where you write what learnt from each job (successes, failures and how to improve next time)

RESEARCHES
You need to be in and aware of trends, what is going on in the fashion industry.
Look at all levels of fashion : H&M, Zara / Maje, Sandro / Chanel, Burberry / Haute Couture
Look at different genres : Ready-to-Wear, Haute Couture, lingerie, maroquinerie…
Who are the big names (designers, models, editors, magazines, bloggers)
Have a dream list of people I want to shoot

TEAM
You need to build a team, you definitely can not work alone. Work with people on your level or slightly above but never below. Don’t think too high too fast.
An ideal team is composed of a photographer, MUA and hairdresser, stylist, retoucher, assistant(s)

MODEL AGENCIES
Establish relationship with personal bookers of models (not the overall one) to get in touch directly with their agents and get girls easily
Start with new faces for test

PUBLICATIONS and CLIENTS
Determine your market to orientate your style.
Have a dream list of magazine you would like work for (agent, creatives, art directors, art buyers, production company)

ADMIN
Keep track of costs, investments, equipment
Be active on social medias 
Regularly update your website
Don’t negligee researches
Hire an agent (when you’ll reach a certain level of working)

What is a good histogram in photography?

Non classé

An histogram is a graphic representation of the tone values of your image. It show the amount of each tone of a brightness from black (0% brightness) to white (100% brightness).

CLIPPING
If the histogram reach either edge, it indicate loss of detail, also called clipping.
     – Highlight clipping : right edge, areas completely white, absence of detail (called blown out)
– Shadow clipping : left edge, areas completely black, absence of details (called clipped)
It can be fixed by adjusting the exposure (use exposure compensation). Always remember that it dependes on the scene (ex : sun, white background in studio…) so it could be normal to have a clipping.

ideal.pngIdeal histogram
dark-subject.pngHistogram for a dark subject (black cat)
light-subject.pngHistogram for a light subject (with mostly light tones in the scene and few dark areas)

GAP
A gap between the edge and the histogram indicates a loss of details and could be easily correct by adjusting exposure

EXPOSURE COMPENSATION (+/- button)
To keep shadow detail, make images brighter by dialing in positive exposure compensation value (+0.3 or +0.7, for example)
to save highlight detail, make images darker by dialing negative exposure compensation value (-0.3 or -0.7, for example).

THE BLINKIES (or ‘Highlight Mode’)
Most SLR cameras have a setting called “highlight warning”.  It will make any overexposed highlights “flash” or blink when you preview your images on your camera screen.

Sources
https://digital-photography-school.com/how-to-read-and-use-histograms/
https://photographylife.com/understanding-histograms-in-photography

London Fashion Week 2/2 – After the event

Events, fashion

     Despite being close to fashion and immersed in a creative spirit for a few years, I am still charmed by the magical and beauty of the Fashion Weeks when sparkles of luxury are spread all over the cities. I had the chance to see Leonard’s who at the Grand Palais in Paris three years ago ; I also worked in the showroom for Acne Studios during the week before the show. But this year I had the incredible opportunity as a photographer and to access to London Fashion Week more from inside. I saw the raw world in backstage, I saw in models’ eyes their fatigue and sometimes even the fear, without saying a word, aware that they are Dozen of unknown hands turn around their faces and their bodies, which transform these girls into anything than who they are. Models are turned into a women- object, losing any kind of intimacy, any control of themselves. I quite puzzled to faced so crudely these realities to shine a couple of minutes on the stage.
However, it was an incredible experience as a photographer. I was quite scared to be in the middle of the pit, surrounded by all these competitive and massive professional photographers. I was so surprised by the calm and friendly atmosphere in the room while waiting for the shows. They were all very chatty and nice with me, giving me some advice and great positions to take photographs. Even if I was exhausted to be concentrated while shooting – I was trying to think and apply all indications I
got – it was such a wonderful experience where I learnt and shoot a lot. Go for select, retouch and edit now…LFW.jpg
-Always be polite and respectful of other photographers
-Be chatty and socialist with them
-Set up your camera (never come with a Nikon)  before the show :
Aperture (f1.2 to f.8)
SS above 1/320
ISO (100 to 1600)
White balance
Autofocus
-Optimal lens is 70-200mm but a 24-70mm should be perfectly fine
-Wait for models being half of the stage before starting to shoot
-Wait for the leg on my side cross in front of the others to stay elegant
-Press the shutter on the down beat
-Take a full length / 3/4 and close up (don’t forget the back, details, accessories even if it’s quite hard to see all of that while shooting, there is so much going on so quickly !!)
-Models usually look down before turning and close their eyes when they turn (relax moment)

It is quite easy to have access at LFW but it is another story for Paris or Milano where there is nothing to compare with level of shows.

Transparent, Translucent and Opaque

Technical

TRANSPARENT
Transmission
Let the light passing through material without being scattered.
ex : glass, diamond, amber

TRANSLUCENT
Transmission / Diffusion
Let the light passing through but with a diffraction (due to macroscopic structure)
ex : frosted glass, oil paper, plastics, tracing paper

OPAQUE
Absorption / Reflection
Absorb and transform the light  into heat, bounce or reflect the light
ex : wood, metal, marble

When light encounters a material, it can interact with it in several different ways. These interactions depend on the wavelength of the light and the nature of the material. Photons interact with an object by some combination of reflection, absorption and transmission.