My second image campaign for Swedish Top Hair & Beauty Salon Mika’s Koivisto-Karlsson, as always creative direction by Tony Lundström & Jenny Karlsson using a whole slew of Mika’s models, notably Klara wester, Alina & Linnea Hellbom…
This time around, we were influenced by the Andy Warhol factory look + your the “extended family” concept + as well as an obvious “homage” to image maker Jean-Gaul Goude’s iconic Grace Jones nightclubbing” cover…
What Kinds of Lighting Accessories are Needed to Sculpt or Paint with Light? Part 5
A very important aspect of choosing which part of the subject shall be hit by which type of light source is something I consider very closely when doing a selective lighting exercise in my shoots.
As we all know, continuous lights and flash can have very different outcomes and knowing how to control those results is part of the challenge in adding dimension to your images.
I have been able to recreate to a certain degree the tilt shift look in an image without using a tilt shift lens, by just choosing which part of the subject will be sharp and which will be blurred. You can see an example of this in the shoot I did for Spoon Magazine in this VIDEO. You can watch what I am doing momentarily, attempting to have a subtle lower half blurred effect even when shooting perpendicular to the subject.
For example, to obtain this effect from the waist don, I will light the upper half of the body with flash and the lower half with either hot lights or kino light. I will shoot at around 1/4 to 1/15th of a second. As I am shooting the subject, I will focus on the eyes and just as I am pressing the shutter, I will do rapid pivot downwards to achieve this effect. Playing with the rapidity, will render different outcomes.
It has taken me years to perfect this and have had some success in doing so. Although not perfect, it is something that is difficult to replicate in Photoshop and can give you some very strong 3 dimensional effects. None the less, you can also see this technique employed in this VIDEO where I have flagged the flash and use Mandarine Tungsten light on the lower half of the models body.
Have fun and experiment. The sky is the limit.
What Kinds of Lighting Accessories are Needed to Sculpt or Paint with Light?
In this instalment I would like to discuss how to control your light with greater precision by mixing “Hollywood Grids” (Cookies) with either bare head flash units, snoots and honeycomb grids.
A Hollywood Grid or (Cookie) is produced by taking a sheet of cardboard or backdrop paper (usually black or dark grey) that can be cut in to a square of around 1.0 to 1.5 meters square. You can use a box cutter or scissor to produce the patterns you will introduce on to the cardboard or backdrop paper squares.
Lay the cardboard or paper on the floor and make sure you place something underneath not to damage your floor. Start cutting out patterns of circles, squares, triangles, diamonds, stars or what ever comes to mind of different sizes from 2 to 3 centimetres to 10-12 cm. Experiment with the different shapes and do so over the area you plan to shoot the light through. You might wish to do your cookie cut outs over the whole are and I will explain why in a moment.
I suggest you prepare one flash head with your classic 7 inch diameter diffusion bowl, your snoot and your honeycomb grid in fine, medium and large (grid sizes).
Set up two light stands to support the cardboard or backdrop paper. You might have another makeshift stand that can be used to support your grid vertically on either side. I use standard clothes clips to affix them to the stands. Raise the stands high enough to allow the grid to not touch the floor, unless you wish to shoot through very low. Your height will be determined by the subject orientation to the grid, angle of light source etc.
As a starting point of reference, place your flash head about 50cm or 2 feet from the grid only using the 7 inch bowl reflector. Turn on the flash unit using the modelling light. If using Hot Lights the same rules apply but shutter speed will change of course. Darken the room if possible to see the effect of the light on the area you wish to concentrate on. Start moving the light source up and down in the direction of the subject to see where the light hits. If you want harder patterns, move the light source further away from the subject. If you want more diffused light, move the head closer to the patterns. If you don’t like one section of the patterns, move your grid up or down or move your light to where you see something you like.
Here is where things get really interesting. You will notice that with the bare head, there is a lot going on and the light spread is considerable and covers a large area of the backdrop. Introduce honeycomb medium grid as a starting point and see how much more perceived contrast has been introduced. The area of coverage has been reduced substantially adding greater drama to the image. Experiment in the same manner as above, but also experiment with different *honey comb grid sizes.
Snoots are a compromise between open bowl lighting and honeycomb grid lighting. You will also see a more evident circle than with a *HG. It is important to note,where you meter for these images, as hot spots are a lot more evident and drop off is extreme. You must consider dynamic range when using this technique. So check your curves.
In the next instalment… More of the same.
Above images shot for “Swarovski” Saatchi & Saatchi Agency Paris
What Kinds of Lighting Accessories are Needed to Sculpt or Paint with Light?
Or how I learned to play with glass, vases, plants and other stuff…
I have for years pondered how to render 3 dimensions on to 2 dimensional walls and surfaces, or how to add greater topographical richness to predictable lighted interior landscapes.
Our brain through our eyes and life experience allows us to determine how light will be rendered in our familiar environments and as a result we are rarely surprised when we turn on the corner lamp of our room, or the sun comes shining through the picture window in the library.
But have you noticed that when those rare lighting anomalies occur how we stand up and take notice. When the sun peaks through thunder clouds while it is raining, giving a stark contrast to what would be a very common landscape. Or when lightning strikes and lights up very specific portions of a scene. Or when a point of sunlight hits a glass and renders a mini rainbow in its wake.
Well those are the types of illustrations I find appealing and attempt to recreate in photography. I have always been drawn to the symbology of the “light at the end of the tunnel”. That is in its own right is a reflection of my own being and I won’t attempt to go in to a self analysis of why that is, but just wish to say, that contrast is important to what I render.
There are many ways to accomplish these effects in photography and some are more extreme than others. Some have more subtle gradations and others are quite frankly polar opposites and quite stark. How you use these tools will be based on what “YOU” are attempting to express, because ultimately, it is “YOU” the artist expressing your vision of how you perceive reality.
One of the tools I enjoy employing are those that partially obstruct light to varying degrees. For example, I often use empty vases or sometimes filled with water or glasses placed in line and shoot light through them on to the surface of the space I am shooting in. I may use either a honeycomb grid, snoot or barn doors to control the size of the opening from the light source. I have often used a combination of all three and often more. Moving the light source closer to the objects will spread more light on to the space and will render the effect with more subtlety. Moving the objects further from them will enhance the effect. Play around and experiment. You’ll be quite amazed by what can be accomplished.
I have often had accessory stylists order different plants to bring to shoots and aim my light source at them to cast exciting shadows on to the background of the images I am rendering. Some plants are more transparent than others and light will bleed differently through all of them. Again the rule of closer and further applies here.
Another technique I have employed that you may find interesting is to shoot through objects that give you a subtle vignetting. It is akin to shooting partially above and below the water line. Using a mix of opaque or transparent objects will aid in realizing the effect.
In all of the above cases, I recommend a mix of continuous light and flash light sources to add interest to your lighting composition.
What I am attempting to accomplish here is to influence how you approach light. Your interpretation and employment of tools around you, that can be used to accomplish exciting and unusual effects is another objective.
Again, I have only scratched the surface here, but hopefully have sparked some ideas for you to explore.
In the next installment, I will discuss other modifiers and how to mix it up…
What Kinds of Lighting Accessories are Needed to Sculpt or Paint with Light?
When attempting to control lighting, it is important to decide which part of the subject area you wish to light or which sector will have a greater amount of light to draw the eye to. Now this can also be perceived as, which part of the image will be shaded with less light. That is where the “Yin Yang” principal of lighting comes in. I believe that what makes images interesting is contrast. There are an infinite amount of ways of doing so.
In the last instalment I suggested that I would delve into umbrella and light box lighting used creatively or selectively. When using a bare umbrella or light box, the light is distributed quite predictably. What I would like to suggest is the following; go out and get some black velvet or thick black cloth that is large enough to cover the entire surface of the light box or umbrella surface. Also purchase some Velcro. Cut the cloth in to a circle for the umbrella and attach the Velcro to the periphery of the umbrella and cloth circle. Do the same for the light box. You may wish to cut holes in the circular cloth umbrella pattern to allow it to be attached to the umbrella rib tips.
Here is where some of the fun begins. Place the cloth scrim template cover over the entire umbrella or soft box and turn on the flash unit, with the modelling light on. Place the object or person you are wishing to light in the desired place and remove i.e. peel back a sector of the cloth scrim. See what the light is doing. Rotate the umbrella or soft box and observe the effects on your subject and don’t forget to play with the angle and distance of the main light from the subject. You might also consider allowing light to bleed from several sections of the soft box or umbrella, by peeling back different sections.
You may also consider applying the same technique for the background light as well. However, in this case you may wish to move the light source around to see the effect on the overall image. If there are ambient light sources, you may consider using them to add realism to the image.
In the next instalment, I will continue with other types of less conventional modifiers.
What Kinds of Lighting Accessories are Needed to Sculpt or Paint with Light?
I like to look at lighting in two ways. As sculpture or as painting. As sculpture when you start with an overall wash of light and like painting when you commence in complete darkness. It is for this reason that I would like to suggest lighting systems and accessories that may assist you in attaining your final goals in lighting your subject or scenario. These examples relate more so to interior lighting situations, but can also apply to close quarter outdoor scenarios. If shooting out doors, you will need a much more powerful lighting set up to compete with the light already surrounding you.
There are several lighting systems out there and most of them provide a vast panoply of lighting accessories and add ons. If they don’t have what you want, you can often use other manufacturers accessories and adapt them to your systems mounting hardware. However, I would suggest that you find a brand that have the modifiers available to achieve your present and future lighting goals. I have designed my own system for one of my lighting techniques and this system does not exist in the market place.
You may wish to consider either getting the power pack system and flash heads with modelling lights that plug in to the power unit or several independent mono block flash heads with modelling lights. I would recommend getting at least two heads or mono blocks. Three would be better. As to which brand, again that depends on your budget. You can have a complete system for around 2000 dollars or euros. It also depends on the size of space you will be working in which will determine the output required for the job. My own personal kit which I use when not doing a job (for testing or personal projects) are the following. Two MultiblitzProfilux 600 ws monoblocsand two Multiblitz Compact Lite 200 ws monobloc units. I have 6 Honey Comb Grids, 2 snoots, 2 barn door modifiers, four 7 inch silver bowls as well as 4 Multiblitz umbrellas and a Multiblitz 60 cm soft box which I have used only once. I have a multitude of black scrims which can cover any part of the umbrella or softbox, I wish to obscure, made of black material and Velcro or gaffers tape to attach to the umbrella or soft box. I have several home made scrims anywhere from 30 cm to 1 meter square as well as home made cones and black card mini scrim modifiers. A scrim is a panel that can be used to either redirect (white) or block (black) light from hitting an object.
In almost every discussion I have had with photographers, the greatest frustration expressed is the lack of control over their light source. There is just too much light going everywhere. It is for this reason that I often opt for the paint with light rather than the sculpt with light approach. It is more akin to a half empty or half full approach to lighting. I prefer to build my scenario from complete darkness than to sculpt out the light from an existing light source. Umbrellas are akin to sculpting where highly focused snoots and honeycomb grids are more akin to painting. However, even those tools may not give you the desired effect, as they cast a very definitive circle on to the photo landscape. That is where the art of dodging with scrims come in to play. Scrims can be shaped in anyway you desire and can be done so using wire hangers or wires to construct the shape of the modifier you wish to employ. Of course, the distance from the light source will have a major effect on how soft or sharp the gradation from dark to light will appear in your image. That is where experimentation comes in to play. You may also wish to use another technique that I have used called “Controlled Vignetting” mixed with scrims to add further dimension to your image. By moving an opaque object near your lens you can add a further dimension to your photo. I often use my hands to do so, or plants, vases, glasses etc. I have also used semi opaque scrims to effect the softness and hardness of my light source.
One of the problems with the use of scrims, is the need for stands to support them. So be prepared to buy several. You can purchase clips at most hardware stores.
In my next instalment, I will discuss the use of flags, scrims on umbrellas and soft boxes as well as other types of modifiers available to shoot with.
Recently, I received an e-mail from someone who saw my image on myintroduction page of my blog, asking “…how did you do it?” I will not include what he speculated, which was actually quite close.
For those of you wishing to participate, I would like you to tell me, what you think I did. I will eventually tell you all the technique I employed for this particular beauty story shot for “Citizen K International”.
So, go ahead and tell me what your impressions are. Post your answer on the Forum and on my Blog. That way, everyone who has participated can see all of the responses.
Thanks
Ben
So, here is the lighting set up for the shot.
A 4 bulb Kino Flo Light, lit from below with a white shoot through diffuser.
An Opalight diffuser on a Profoto flash head shooting down at around 60 degrees and around 1 meter above and 2 meters back from the model.
Two Profoto bare bulb flash heads, one on either side of the model at around 100 degrees just slightly off the 90 degree axis of the model.
Two HMI 1.2 Kilo Cinema Lights for the backdrop, shooting down to achieve the gradation.
Full Blue Gelatins on all of the flash sources and a Midnight Blue Gelatin on the HMI’s using a Blue Backdrop.
Portrait of French Designer Alexis Mabille photographed by Benjamin Kanarek for Vogue Brasil
Image taken in July 2009 at Alexis Mabille’s show-room in Paris. Photography: Benjamin Kanarek for Vogue Brasil featuring Alexis Mabille
Model: Myrthe Mabille
Digital Retouching: Fredddy Baby Paris
July 2009, interview of Alexis Mabille by Suzy Menkes for the International Herald Tribune & the New York Times.
Alexis Mabille discovered fashion at a very young age, attracted and inspired by fabrics, costumes, antique jewlery,and museums he visited as a child. As a teenager, he would put together theatrical pieces as well as outfits for his friends and family. Graduating from Paris’ Chambre Syndicale de la Haute Couture in 1997, he undertook apprenticeships at the Couture Houses of Ungaro and Nina Ricci. He then joined the team at Christian Dior . At Dior, he created exquisite fine jewelry for Women and Men, both respectively overseen by John Galliano and by Hedi Slimane.
As a kind of a quirky signature, Alexis can always be seen wearing a bow tie. In 2005, he embarked on his own personal adventure and created his own Fashion House and decided that the bow tie which accompanied him thus far would become his lucky charm, his special signature. Since, doing so he has utilized bow ties in novel ways in all of his collections.
He also designs a Mens’ collection and a Womens’ accessory collection (bags, shoes, jewlery). His faux-casual and romantic touch marries the hyper feminine with the influence of the perfect cut androgen tuxedo look.
To build a sustainable business, his challenge is to evolve from the cute and gimmicky identity of the bow tie to a timeless style. Alexis Mabille deserves credit for developing a signature company that is pragmatic and focussed in this economic malaise. At a time where Christian Lacroix and Yohji Yamamoto are facing the worst financial backlash in their history, Alexis has established a loyal customer base and is also offering his collection as a ready-to-wear option.
Alexis Mabille has already gained quite a following amongst Celebrities.
Keira Knightley, Dita Von Teese and the French First Lady, Carla Bruni-Sarkozy wearing Alexis Mabille.
Alexis Mabille’s last collection was inspired by “personal memories from a grand old linen closet, with recollections of distant travels”. Pastel shades, sensual silk and fluid lace contrast with the sharpness of the deep navy blue long gowns and tuxedos. Architectural and geometrical cuts meet with simple, light and gently floating lines.
His fashion is definitely wearable and that is key. Too often, at the early stage of their career designers forget that ready-to-wear and Couture are not Art but an Applied Art to the human form. People do eventually have to wear what is designed and that is often the major challenge that young designers must come to grips with. Clothing is more akin to “Functional Art”. One could make a similar comparison between Sculpture and Architecture. One is pure form and the other is Form and Function. Fashion is business and as entrepreneurs, Designers need to convince Buyers of Department stores and in the end the clients.
If you are looking for spectacular, show-off and breath taken collections using BOWS, I would suggest you take a look at Viktor and Rolf‘s work. Here the bows become an animated, magnified and surreal element of their designs, yet utterly wearable. They have found ways of surprising us with a global concept of excess stretched to the max. However, they never overlook the commercial and viable side of the business. In the final analysis, they know how to downsize their collection prototypes for commercial consumption.
Is BIG necessarily BETTER ?
Viktor and Rolf, Spring-Summer 2005 ready-to-wear collection
Alexis Mabille’s integral Spring-Summer 2010 Collection – part 1
Alexis Mabille’s integral Spring-Summer 2010 Collection – part 2
Doing Beauty shots is sometimes more akin to doing still life, as the lighting is over a much smaller area and thus may be approached differently than fashion.
The modifiers used and the placement of the model should be planned carefully if wishing to get something out of the ordinary.
I often build a mini studio around the torso of the model and use tiny modifiers to reflect light where desired as well as focal lengths that work well for this type of configuration.
I suggest setting up a frame where you can set up your reflectors around the model using small cardboard white modifiers of 3-9″ or 8-25 cm square as well as snoots and honeycomb grids to direct the light to the modifiers. Use Hollywood Grids to be more dramatic and don’t worry about the light drop off. That is what makes a close up shot have the contrast between shadows and highlights so interesting.
Of course if that is not your cup of tea you can still use the classic modifiers to kick light in to the subject, but the gradations will not be as evident.
I would recommend lenses allowing you to come in close enough to capture a lip, eye lash or eye detail. Many non-macro lenses with close focussing capability will do the trick, but if you need to get in real close without blocking the light by your close proximity, a 70-150mm Macro might be the way to approach this kind of set up. You can do wide angle close ups if that is the desired effect you want, but prepare your lights accordingly.
Also, try to prepare the back ground for any eventual angle you wish to shoot at. A mini “Cyclo” (Curved Back Drop) might be a good way to allow you to shoot within a 180° area around the model. Make sure it is high enough to allow you to shoot up at the subject if so desired.
When doing Beauty shots, the make-up must be as perfect as what the make-up artist wished to accomplish. I say this, as she/he may want a messy look. None the less, the better the make-up the less retouching time in Photoshop.
Don’t be afraid to come in really close. As one of my favorite Art Directors Jacques Michel Verger once said to me, “When you think you are in too close, come in closer…”
