1o days ago or so, I taught outdoor portrait lighting techniques at the Cascade Center of Photography in Bend, Oregon. I demonstrated multiple techniques including reflectors, diffusion panels, and wireless flash.
We went to a location where there was a field of wildflowers that we could use as a background, or in this case, our entire scene. Our model here is Justine and she was gracious enough to kneel in the flowers on a small trail that goes through the field.
We shot about an hour before sunset and the sun was out and it was harsh. I positioned her to face the sun so the light would hit her face straight on, adding highlights and shadows. But as you can see the lighting contrast is harsh in the early test image.
If you look at the above image you can see a slight shadow behind her. The light panel created a shadow in front of her and behind her, but the part in front is hard to see due to my angle being down low. While she is in the shadow cast by the panel the foreground and background flowers are in the bright sun.
So I processed the image to bring down highlights and white to darken them some and bring their brightness closer to the her brightness. Then I darkened (burned) the bright flowers a bit more, cloned in some bad areas with distracting detail, then finished off by using Topaz Texture Effects and used the preset Crisp Morning Run.
So this is the final image.
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This portrait was taken last week during my Outdoor Lighting Portrait workshop at the Cascade Center of Photography. We chose to shoot at a field of wildflowers for this colorful background. The model is Kim and the purpose of this portrait example for the students was to shoot after sunset and then light the model with flash.
The reason to wait for the sun to set is to reduce lighting contrast substantially, then reintroduce light by adding flash to increase lighting contrast-but contrast that I am now in control of.
Gary Deal of www.Provisionworks.com in Florida has stolen my photo claiming it as his on his website:
Most likely the images was lifted off my article on Digital Photography School: http://digital-photography-school.com/real-estate-photography-a-guide-to-getting-started/
We all dissect photos! Each time we observe and analyze a photograph, we are mentally dissecting it into what we like and dislike about it. It’s a great way to learn from others and apply what we learn to our own work.
I shot this picture here on a 4×5 camera probably 25 years ago and I have not looked at in many years as it sits in my film files, which rarely get opened anymore.
It is enjoyable to sort through my massive film files and find images I have forgotten about and then, as teacher of photography these days, I dissect them into what works and does not work, and share that. I even try to see if I can remember what I was thinking when I captured the image.
I see a lot going on in this photo.
There is a term used a lot in photography these days called ‘lighting in layers‘ and it really has more to do with Photoshop compositing (at least to me) and I think I can look at this image and say the same thing.
When I was photographing this dune in Death Valley, I was very fortunate to be there after a storm which added ripples to the dunes but also erased footprints, which these days, are challenging to get away from.
To the right of the position seen here, was the top of the dune which curved to the right and downhill again. What I mean is that to the right, the dune was more evenly lit and the ripples of sand not so apparent.
By moving left or down slope, the light exaggerated the ripples more. Those ripples also point into the picture and that is a great example of leading lines, guiding the eye into the picture.
There is also a second layer of dunes beyond the foreground dunes and those are followed by the furthest dunes, which are lit with pretty even light due to the angle of the dunes.
All this, plus a little more, adds to an image that incorporates a lot of different elements. You have layers in the three sections of dunes that lead into the picture. Each section is lit differently, going from a dark foreground to the next section of dunes and finishing at the brightest section, which is where the eye finishes. Then there is the bush on the left, strategically positioned in the composition.
The result is an image that has various levels of brightness on each dune section along with leading lines and all this directs the eye to the brightest dune, and the visual destination.
As I mentioned previously, dissecting photographs is a great way to explore what works and does not work with an image and is a great aid when developing your own vision.
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