What does a studio look like?
Here you can see the different types of lighting used in studios! |
Here’s a studio. Notice that this is a simple room with no windows, so there’s no sunlight involved. And there's no way that any un-needed light can get into the space. The walls are white so there’s no colour introduced. There’s a simple backdrop using a roll of white material. And there’s space for a model, some equipment, and some space to move around obviously!
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Types of Lighting!Background: The room has standard lighting that illuminates the room and the backdrop.
Spot light: The small black thing on a tripod provides direct light, currently on the backdrop. Soft boxes: The pair of white squares are translucent fabric over lamps to provide soft, diffused, main light over the subject. Umbrella: Is a gold umbrella which reflects a spot light. This could be a strobe (flash) light to put some bright “key” light on the model’s face. Reflector: The gold circle can reflect light into dark areas, such as under the chin, and can be held by an assistant. Reflector! You may need to fill in some darker areas, such as under a person’s chin. You could use another lamp, but who has that many lamps? Instead, just reflect light from an existing source using some white card or a fabric reflector!
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Background Lighting!Here we have a couple of spot lights just for the backdrop. They help remove shadows behind the subject.
Main Lighting!The canopies, called “softboxes” provide a white fabric screen that the lamp shines through. This disperses the light for that all-important even distribution of soft, diffused light.
How to use 3 point lighting! |
Overhead Lighting!Notice that three of the softboxes are overhead, to provide the effect of general sunlight. This is difficult to do, since you need a big tripod, a convenient I-beam, a gantry, or some other sturdy structure.
Key Lighting!This is usually a strobe (flash) into or through an umbrella. The key light provides the light for the viewer’s perspective. If you’re using a camera flash unit, place it off camera with an extension cable to avoid a bright and direct reflection
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David Bailey
David Bailley was born on the 2nd January 1938, in Leytonstone, London.
In 1959, Bailey became a photographic assistant at the John French studio, and in May 1960, he was a photographer for John Cole's Studio Five, before being contracted as a fashion photographer for British Bailey began working with prestigious fashion brand Jaeger in the late 1950's when Jean Muir landed the role of designer. After working alongside other fashion photographers such as the late Norman Parkinson, Bailey was officially commissioned by Vogue in 1962. Below you can see some of David Bailey's work. |
David Bailey's Quote.
Some of David Bailey's artwork
Richard Avedon
Richard Avedon was born on May 15, 1923 in, New York City, New York, U.S.
Sadly he passed away, October 1, 2004 aged 81 San Antonio, Texas, U.S. In 1944, Avedon began working as an advertising photographer for a department store, but was quickly endorsed by Alexey Brodovitch, who was art director for the fashion magazine Harper's Bazaar. Lillian Bassman also promoted Avedon's career at Harper's. In 1945 his photographs began appearing in Junior Bazaar and, a year later, in Harper's Bazaar. Avedon had numerous museum exhibitions around the world. His first major retrospective was at the Minneapolis Institute of Arts in 1970. The Metropolitan Museum of Art, New York, presented two solo exhibitions during his lifetime, in 1978 and 2002. In 1980 another retrospective was organized by the University Art Museum in Berkeley. |
"Sometimes I think all my pictures are just pictures of me. My concern is... the human predicament; only what I consider the human predicament may simply be my own"
His artwork
Martin Schoeller
Martin Schoeller was born on March 12, 1968 in Munich,
Germany. In his early years he was influenced by photographers August Sander, Bernd Becher, and Hilla Becher, Schoeller studied photography at Lette Verein in Berlin. Schoeller started his career in Germany, and came to New York in 1993 and worked as an assistant for Annie Leibovitz from 1993 to 1996, here he developed his "big head" portrait technique, a term coined by him, of his style of "hyper-detailed close ups", which later gave him worldwide acclaim. He left in 1996 to pursue his freelancing career. Soon his street portraits started getting published in Rolling Stone, GQ, Esquire, Entertainment Weekly, and W. In 1999, Schoeller joined Richard Avedon, as a contributing portrait photographer to The New Yorker since then. |
Martin Schoeller's quote
Some of Martin Schoeller's artwork
Gregory Crewdson
Gregory was born on September 26, 1962 in Brooklyn, New York.
Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic. They feature often disturbing, surreal events. His photographs are elaborately staged and lit using crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques. He has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safeas having influenced his style, as well as the painter Edward Hopper and photographer Diane Arbus. |
Some of Gregory's artwork
This image is my favourite because the photographer has used the rule of thirds, the golden ratio from the right hand bottom corner as the tree guides your eyes up to the bridge which has leading lines on it and the bridge then makes you look further into the image, in the top left hand corner you see the brick wall with painting on it and then guides you down to more leaves and then into the middle to see the boy looking up to the bridge in the middle of the image.
Yousuf Karsh
Yousuf Karsh was born in December 23, 1908 Mardin, Ottoman Empire. His nationality is Canadian and he grew up during the Armenian Genocide where he wrote, "I saw relatives massacred; my sister died of starvation as we were driven from village to village." At the age of 16, his parents sent Yousuf to live with his uncle George Nakash, a photographer in Sherbrooke, Quebec, Canada. Karsh briefly attended school there and assisted in his uncle’s studio. Nakash saw great potential in his nephew and in 1928 arranged for Karsh to apprentice with portrait photographer John Garo in Boston, Massachusetts, United States. His brother, Malak Karsh, was also a photographer. Karsh returned to Canada four years later, eager to make his mark. In 1931 he started working with photographer John Powls, in his studio on the second floor of the Hardy Arcade at 130 Sparks Street in Ottawa, Ontario, close to Parliament Hill. When Powls retired in 1933, Karsh took over the studio. Karsh's first solo exhibition was in 1936 in the Drawing Room of the Château Laurier hotel. He moved his studio into the hotel in 1973, and it remained there until he retired in 1992. And In his time of being a photographer, he was known for taking pictures of Portraits of Winston Churchill,Albert Einstein, Elizabeth II,John F. Kennedy, and many more, In the late 1990's Karsh moved to Boston and on July 13, 2002, aged 93, he died at Boston's Brigham and Women's Hospital after complications following surgery.He was interred in Notre Dame Cemetery in Ottawa.
Some of Yousuf's photographs
A quote from Yousuf Karsh
My first attempt at taking photo's in a studio!
This was one of my first attempts at using studio lighting, hence why its not one of my best pieces of work. To begin with, the third column of photo's are all over exposed and under focused . And the second column, the two first photo's are under exposed. But the further on we went with the photo shoot, the better the photo's got, as we can see within the first column all the images we're exposed enough so we can see them and focused clearly with nice lightening to highlight my model's face which give's her skin a fresh baby like look, the lighting highlights her sharp jawline and great cheek bones, with shadows in the right places.
Proof that these are my images
Some pictures from my second attempt at studio work, out side!
This is a image which me and 2 fellow friends managed to capture, we used inspiration from John Baldassari and decided to add a big circle template in front of our model. This image has a depth of light to dark within the image. And the white brings attention to you're eyes. And as we see at the top of the picture we have the ceiling which has leading lines which guides you're eyes towards the circle template.
Photoshopped pieces!
In this image i have managed to photoshop 5 pictures into one, i have taken 5 images as one was for the background which has aspects of leading lines on it, then another one by mymodel who's got a straight face which shows her emotion , and another model who's particially smiling which we can suggest this to be an image of emotion as its like each model has there own story to tell, this can be supported by my final model who's extremely happy with a massive smile on his face! Also for my final image if you tilt your head to the left you will see i have added another image which is of 2 models , one who's covering her face and another who is not in the mood bending over a rail.
For this image i used; A number of layers The polylasso tool Warp Distort Overlaping Opacity |
For this image which i have photoshopped i have messed around with one of my models face, giving him bigger lips, a bigger sharper jaw line which has a show underneath is which catches you're eye, and extended his right eyebrow to match out the size of his big lips. Also for this model i have cropped his hair and placed it in all different positions so it looks like any other normal head full of hair would, On the other hand i have kept my face simple as i did not want to over do the alterations, insted i've kept my face simple and extended my forehead and i've also made my right eyebrow more bigger! Furthmore if you look at the brick wall ive adjusted it the most tinest bit to create a type of waved effect and played around with the lighting and made it brighter!
For this image i used; Polylasso tool Warp Overlaping Cropping The filters Waved effect Shadowing Lighting |
Our third try at studio work, out and about!
This image here is one of my most favourite ones, this is because the sunshine is straight onto my face, also we used a golden reflector so this gives me that softer look and highlights my hair and focuses on my eye giving my whole face a glow, furthermore using the golden side of a reflector it has changed the colour of my eyes, from blue to the light green which they are. But this image is slightly out of focus but it adds to the softened look, and because the image is not fully focused the background is, which is where we see a clear picture of a plant growing in the background.
This image here is also one of my favourite images because my model has the perfect lighting to his face and has some shadowing , also in this image there's lots of leading lines for example, my models clothing has lines on it which leads you're eyes to the lam-post in the background which also makes you look over to the right which is my models face, where you see a nice glow on my models face and see the emotion of his face, also i like this image because its fully focused which means everything in this image is able to be seen like the big tree in the background, you can see the shadow of the tree on the green fence!
Again this is another one of my favourite images as it's slightly out of focus on the model but in focus on the background, also we took this image in a dip in the ground which gave us an opportunity to have a half lit up body and the other half of my models body to be shadowed, this could potentially show to different emotions of the model, a sweet side and a dark side!
My final 3 images!
The 3 images that I picked are all portraits which links them together. There is a sense of conversation between these models, as in each picture they are slightly facing each other.
In the first image he is angry and frustrated, they've just had a fight, after many fights. When you look at the image it feels like he's in your face and you instantly want to back off. The second image is hiding a lot of emotions. Shes trying to show that everything's ok, but really shes knows its not. She is trying to reassure him with a smile for sympathy, which also makes the observer feel sorry for her too. The last image shows his remorse. He shouldn't have got so angry, there is sadness in his eyes, he knows its the end.
In the first image he is angry and frustrated, they've just had a fight, after many fights. When you look at the image it feels like he's in your face and you instantly want to back off. The second image is hiding a lot of emotions. Shes trying to show that everything's ok, but really shes knows its not. She is trying to reassure him with a smile for sympathy, which also makes the observer feel sorry for her too. The last image shows his remorse. He shouldn't have got so angry, there is sadness in his eyes, he knows its the end.