Chloe...... because Eds bored...!

[Onslow]

Subject Chloe.

Purpose. Chloe wanted a different look to her normal work. This wasn't designed as a formal portrait. More as an addon to the set we were doing that day which she really liked. I would have constructed it differently if this was a formal portrait.


Settings F6.3, 1/60th, ISO 100, custom WB....

[Ed Shapiro]

Onslow- Sorry for the delay- how did I ever miss this? I must have been beyond bored- perhaps I was comatose?

Well you certainly found an attractive and beautiful subject and created a high key image. She is a prime candidate for a high key image. I would place this in the category of a glamor portrait which means that some of the conventional portrait “rules” can be broken or varied to create a more theatrical or sensuous mood. But for the most part, in order to really glamorize the subject, some of the basic rules are best applied as the are meant of create an aesthetically pleasing image with out distortions or misinterpretations of the face- in short, a good likeness.

The raise shoulder may be considered kinda cute or sexy but it seems stiff. Sometimes when the pose lacks a good base the rest of the body picks up a bit of distortion- not optical distortion. I am talking about other parts of the body will appear awkward or out of kilter.

What is needed here is a triangular composition within the pose giving more base or support to the head and shoulders. The arms should either go upward to lead the viewer’s eye to the face and better define the hands or downward to avoid the arm coming into the composition at a 90 degree angle which is not graceful.

She is leaning forward; this posture is oftentimes employed to emphasize the breast of cleavage. Here, the lean a bit much and is having the opposite effect. Her costume is black as is the posing support- they are therefore out of key and distracting.

The lighting is neither here nor there- it can not be classified as butterfly lighting or modified butterfly lighting. Not that the rules have to be ultra stringent but the lighting does not “sculpt the face” in the most dramatic and glamorous manner. The absence of catch-lights in the eyes indicate that your main light source is too high.

Another high key technique is creating a white vignette in camera or in post production to soften and better crop the image. The background is not pure white, again it is not mandatory but it gives you a cleaner and more theatrical effect.

If this young lady is one of you regular models; try another shoot- tell her to dress in a white garment and apply some of the aforementioned methods and you are gonna love it- so will she!

Thanks for your submission- it is very cool and has remedied my boredom!

Just a basic rule for high key vs. low key imagery. In low key images the clothing is dark, the background is dark and the face of the subject is the highest level of illumination- this leads the viewer's eye to the face and the expression which is the motif of all good portrait image. In high key the clothing is white or very light as is the background. The skin tone and the eyes are the darkest element in the photograph and therefore this element becomes the motif of the image.

As I mentioned before- certain kinds of commercial, theatrical and glamor images require a new set of rules or improvised interpretation.

I hope this helps, Ed

[Onslow]

G'day Ed, many thanks for the reply. She is one of my regular models. We review reaction to the replies and incorporate any ideas given in the next shoot.

Re the lighting, I was trying a style I hadn't done before where Chloe was standing, I didn't quite get the effect I was after in the session but I did learn a lot.....

Re hi key vs lo key. I think I understand the idea but am not sure if everything has to be in that key.

As an example, in a session I posted in fashion about 2 days ago called "A few more of Athina...." the fourth image I posted I think is lo key... However, is the sole image in my reply to my post lo key or not...? ie the 5th image I posted? Am I correct there?

re your comments about the background. I really struggle trying to decide what background to select for a session.. I try my best to get the most flattering images of the models. Alas, in my minds eye when planning a session, when it comes to backgrounds, I'm blind more often than not.

These are nuances I am trying to learn.

[Ed Shapiro]

Onslow! Not to worry. The story of photography is finding the way from your mind's eye to a piece of photographic paper just the way you envisioned it! The best road to take are the guidelines combined with study, practice and experimentation. The main asset you already have is that you are enthusiastic about your work and have the stick-to-it attitude to pursue the know how- you are half way there.

I am attaching 2 diagrams- one is for high key background lighting and the other is a chart showing various main light and fill light positions so that when we talk further you will understand the lingo.

In the next couple of days, I will check out your fashion shot and give you a reading. I may have a copy of the camera room records I keep to file my data as to techniques. You can make some up and make your own reference files.

Ed