Fitness Shoot with a Model by Hiram Chee

Rose349 3

For the key light I used an Einstein F8 through a Softlighter camera right and for fill and Einstein F4 through a 8in reflector and 30 degree grid, camera left. The reflector was angled up towards the model’s shoulder slightly towards the back wall. I also feathered the Softlighter slightly forward from the model to get the Rembrandt effect.

For post-processing I use Capture One to get my exposure, color balance, contrast, sharpness, clarity and structure dialed in. I then transferred the image to CS6 and de-noised with Nik Dfine, followed by skin smoothing with Imagenomic Portraiture, balanced contrast with Nik Pro Contrast/Color Efx and sharpened with Nik RAW pre-sharpener.

I finally did a BW conversion in Nik Silver FX. Here is a BTS that the model snapped while I was setting up.

BTS_Rose_fitness_shoot

 

You can see more of Hiram’s work at his website.

SUMMER-SCHOOLALL THE TUTORIALS DURING “SUMMER SCHOOL” ARE BY PROJECT 52 PRO MEMBERS EITHER CURRENTLY ENROLLED OR ALUMNI.

Cool Sneakers with Alicia Bonterre

Today’s class is from Alicia Bonterre, a photographer who makes her home in Trinidad.

This was the assignment:

Running Shoes are one of the staples of sports and fitness… and come in all colors and sizes.

Distance runners, joggers, sprinters, hobbyists and kids all have shoes designed for their specialties.

Our job is to shoot a pair of running shoes… And do it with some flair.

The brief:

We have to see the side of one of the shoes, and we must see the bottom of the shoe. Tread is important in running shoes, and it is darned hard to photograph.

This can be done as a studio shot indoors, or a ‘studio’ shot outdoors… in a controlled location environment.

Lighting:

Think soft ambient light with direction. Remember that it will take something a bit punchy to show us the tread of the shoe, as well. I would think sun/diffuser/mirror possibly?

You will have to be very aware of the shape of the shoe from the side… and how you decide to show the side and bottom are up to you, but you will most likely have to prop the shoes up with small cards or shims.

This picture was my inspiration and guide.  I wanted to see how close to replicating it I could get. 

inspiration pic

I used two strobes.

SUMMER-SCHOOLI crossed the light so one hits the left side of the shoe to show the texture of the bottom, I used barndoors and a honeycomb grid here to keep it hard and focused,  a softbox on the right was aimed in such a way as to skim across the side to show dimension and form.  Shot at f11 to be sure all is sharp and in focus. The weight and stick holding the shoe up were later removed in Photoshop and the green background light and swirls added.

sneaker bts tutitorial

Final Shot

sneaker 2 tutitorial

Visit Alicia Bonterre’s website.

Making a “Splashing” Apple with John McAllister

SUMMER SCHOOL, DAY ONE: JOHN MCALLISTER.

John shows how to create this stunning effect.

P52 Summer Assignment 26: “Wet” #3

You can download the raw files used to make this photograph here.

Image One
Image Two
Image Three
Image Four
Image Five
image Six




For more from John McAllister, visit his blog.

SUMMER-SCHOOLALL THE TUTORIALS DURING “SUMMER SCHOOL” ARE BY PROJECT 52 PRO MEMBERS EITHER CURRENTLY ENROLLED OR ALUMNI.

 

Shooting a Beer with Rui Bandeira

Cerveja Letra for Don

We have so many talented people in the Project 52 PRO group. Meet Rui Bandeira.

He shared this shot with my last night and I knew I had to share it with you all. Here is Rui:

“Hi,

I had 3 goals for this shot:
1) it had to be fresh and make the viewer desire to drink it
2) keep the bootle, the lable and the glass important
3) keep a traditional and rustic look

I made the image with a Canon 5DmKII and 100mm L MacroII

After deciding on the framing I wanted I started the shooting.

I knew I would do some compositing so I started by making the base shot. I would then build the rest of the shots i needed based on my drawn comp.

After the base shot I started doing the images needed for the comp.

I had to do a few images with a gold card for the interior of the bottle and glass, for doing this I hand moved the flash so I could get it pointing to the cards.

For doing the bottle images I removed the glass, and for the glass images I removed the bottle.

After having all the images, it was time to composit it all in Photoshop.

You can see a hi Res image here.”

Thanks Rui. Below are some shots Rui furnished for the shoot. See more of Rui’s work at his website.

Ingredients_Lighting_Diagrams

2014_03_20_4920

2014_03_20_4922

 

Here is a GIF that shows the process.

Cervejaletra

In Threes

In Threes

Many times in catalog or product work we are asked to shoot the same thing from different angles. This is NOT as easy as it sounds.

Objects present light differently depending on shape, color, texture and dimension… and many objects have different qualities on different sides of the product.

Below are three examples of a subject shot at three different angles, or three different ways.

They show what can go right and what can be more challenging.

sat-assign27-andras-deme

Anders  Deme (UK) used a large softbox and several white cards for this shot of expensive Brandy. You can see the cards reflected in the bottle cap and the bottle itself.

Sat - Assignment 27 - Jorge

Jorge Rodriguez (Cambodia) used natural light coming in through a doorway, and white cards to enhance the shiny surfaces of the antique sowing machine.

Chopsticks at Multiple Angles

Damian Powell (UK) used a large softbox to the rear of the set, and adjusted white cards in the front part of the set to get the exact look he wanted from the shadow sides.

Takeaway.

To shoot one thing from one angle is far easier than to take the same item(s) and shoot them from three angles. The way the items look, how the photographer presents them, how the lighting can help/hinder the process… all are taken into account when attempting to shoot something from different POV’s.

Assignment.

Find an item to make three shots of in the same way. Not closeups/distance shots, but from same distance and with the object being in the same size in all images. Notice how Damian above worked with DOF and angle while preserving the same size of the object he was shooting.

Two additional shots for your inspiration:

Thu-Assign27-Duane-Middlebrook

Duane Middlebrook (Philipines)… Duane worked with a large light source and white cards to keep the shiny black parts of the blender alive.

 

thurs-assign27-pat-matthews

 

Patrick Mathews (US) used gelled speedlights and a small softobx to capture the grit and detail of a fireman’s helmet.