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Mark Adrian Langtry - Commercial Photography
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Mark Adrian Langtry - Commercial Photography

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RMIT University …

RMIT University

Commercial approaches to successfully photography when required to achieve an image where a computer monitor or TV screen is present within the image


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  • 1. .1. VBS805 COMMERCIAL PHOTOGRAPHY BALANCED LIGHTING Image 1. Telstra Video conferencing image. Considerations: Talent : Main person, “hero ” only – paid talent. Rest of people Telstra staff. Lighting: Electronic Flash, “punch through” umbrellas + soft boxes - all gelled. 1 layer Lee “amber” gel (401 1/4?) on each light that is lighting talent. Note use of “Back lighting” There was definitely a fill light, (soft box) set up directly above camera set 1 1/2 stops down from aperture set on lens. More than 2 will not record). Background lighting has blue gels. Note spot without gel, lighting video conferencing camera positioned also to the back. Chose not to gel it to make it have a “white highlight”. Camera: Mamiya RB, 180mm lens, (to compress perspective). Aperture on lens adjusted to match with aperture required for exposure of image on TV monitor. (f4.5 1/2 / 5.6). It is always different in each situation you encounter though. 81A + Sinar soft, (slight) filter on lens. Technique: Image of person on screen pre recorded, best expression chosen then freeze framed. Then shot Polaroid to determine best exposure for screen. (Have learnt to go for slightly, (only slightly), brighter exposure on screen if in doubt.) Modelling lights on flashes turned off. Long exposure for screen, Vicinity of 1/2 , 1/4 sec. Ensure talent still during flash exposure, (with modelling lights off) to avoid double image or black line in screen area. This image required somewhere between 4 – 6 rolls of 6 x 7 to be shot to obtain 4 – 5 frames that where acceptable. There is always one frame though that stands out.
  • 2. .2. Image 2. ANSETT Airlines Goldwing Lounge bookings staff image. Considerations: Talent : All people including “hero ” – paid talent. Lighting: Electronic Flash, “punch through” umbrellas + soft boxes - all gelled with “Conversion gels” (daylight to tungsten!) 1 layer on each light that is lighting talent. Note once more use of “Back lighting”. There was definitely a fill light, (1 metre soft box) set up directly above camera set 2 stops down from aperture set on lens, (measured very carefully!) More than 2 will not record. That had one layer Conversion amber also! Background lighting through movie scrim has no gels. Set 2 stops above mainlight exposure. (Any more would flare!) This was set up to hide dreadful background. It was risky but it worked. Grid, (honey comb) spot with “Conversion gel”, lighting main talent’s face. Camera: Mamiya RB, 250mm lens, (to compress perspective). Aperture on lens adjusted to match with aperture required for exposure of image on TV monitor. (f4) This was shot wide open! To isolate subject essentially, (once again scary!) 81EF + Hassleblad #1 softar soft filter on RB lens! - It had to be “Golden!” Technique: This shot was very complicated as had to convert exposure to work for Agfa chrome 1000 ISO! Film. All our ANSETT work was shot on that stock for the “feel” it created. From memory the screen exposure was somewhere around a 1/15th. Also this film was very “flat”, (Low gamma). You had to blow out highlights more that usual to create contrast. Modelling lights on flashes turned off. Long exposure for screen, Ensure talent still during flash exposure, (with modelling lights off – very hard to even see expression!). Actually not to much issue with double image as nothing really overlapped with screen to create double image or black line in screen area.
  • 3. .3. This image required somewhere between 6 - 8 rolls of 6 x 7 to be shot to once again obtain 2 – 3 frames that where acceptable. There was really only 1 frame though that stood out as great! This was the last shot at 10.00 o’clock at night of a 2 week, around Australia, (continuous ) job! Image 3. CSIRO scientists. Considerations: Talent : CSIRO staff. Lighting: Electronic Flash, “punch through” umbrellas + soft boxes + Elinchrom grids, (confined spaces)- all gelled. 1 layer Lee “amber” gel (very slight amber) on each “main” light that is lighting talent. Be careful not to overheat lights! Note use of “Back lighting” again. When possible, attempted to use a fill light, (small soft box) set up directly above camera set 1 -1 1/2 stops down from aperture set on lens. Background lighting has blue or amber / yellow gels. Note use of rim lighting on talent to set / isolate subject within the environment. Camera: Mamiya RB, tele lens, (180mm / 127mm to again compress perspective and allow background to go out of focus). Aperture on lens adjusted to match with aperture required for exposure of image on TV monitor. (f4.5 1/2 / 5.6). Once again it is always different depending on the monitor. 81A filter only on lens. Technique: Shot Polaroid to determine best exposure for screen. (Have learnt to go for slightly, (only slightly), brighter exposure on screen if in doubt.) Ensured windows were covered to block any extraneous light. Modelling lights on flashes turned off. Long exposure for screen, Vicinity of 1/2 , 1/4 sec. Ensure talent still during flash exposure, (with modelling lights off) to avoid double image or black line in screen area.
  • 4. .4. These images required somewhere between 1 – 2 rolls of 6 x 7 to be Shot, (budget). As they are reasonably static and there is only one person in shot, this is about what you should expect to use. Image 4. MRI scans, Technician + Telstra Area general Manager. Considerations: Talent : TELSTRA / Hospital staff. Lighting: Electronic Flash, “Bounced flash” + Elinchrom grids, (confined spaces)- no gels. Lighting “Bright” to convey “clinical feel”. Also “On the Road”, only so much equipment you can travel with! Note use of “Back lighting” again. We always attempt to have the shadow side of the face to camera. This to make the viewer look to the “lit” part of subjects face. No room here for a fill light, (just a reflector right next to camera) Background lighting has no gels, once again for “clinical feel”. Light set up hidden between 2 monitors, bounced into wall. Camera: Mamiya RB, 50mm lens, (Extremely confined space.). Aperture on lens adjusted to match with aperture required for exposure of image on TV monitor. (F4.5 1/2 / 5.6). Once again it is always different depending on the monitor. NO filter on lens. Technique: Shot Polaroid to determine best exposure for screen. Ensured windows were covered to block any extraneous light. Modelling lights on flashes turned off. Long exposure for screen, Vicinity of 1/2 , 1/4 sec. Ensure talent still during flash exposure, (with modelling lights off) to avoid double image or black line in screen area.
  • 5. .5. These images required somewhere between 1 – 2 rolls of 6 x 7 to be Shot, (budget again). Suggest use of “Test back”, 1 exposure of image as a test on each different shot you do. Process that roll first and assess! Image 5. Armidale NSW school students using Telstra Broadband. Considerations Talent : Armidale TAS school students. Lighting: Electronic Flash, “Bounced flash” + Elinchrom grids, (confined spaces)- no gels. Lighting fairly neutral to convey “Everyday feel”. Also “On the Road”, only so much equipment you can travel with! Note use of “Back lighting” again. We always attempt to have the shadow side of the face to camera. This to make the viewer look to the “lit” part of subjects face. Once again no room here for a fill light, (just a reflector, out of shot to bounce back into main subject’s face. Background lighting has no gels, once again for “Neutral feel”. Light for main talent set up hidden between monitors. Used cutter to keep light off blue computer just behind him. Camera: Mamiya RB, 127mm lens, (reasonably confined space.). Aperture on lens adjusted to match with aperture required for exposure of image on TV monitor. (F4.5 1/2 / 5.6). Once again it is always different depending on the monitor. 81A filter on lens. Technique: Shot Polaroid to determine best exposure for screen. Ensured windows were covered to block any extraneous light. Modelling lights on flashes turned off. Long exposure for screen, Vicinity of 1/2 , 1/4 sec. Ensure talent still during flash exposure, (with modelling lights off) to avoid double image or black line in screen area.
  • 6. .6. These images required somewhere between 3 – 4 rolls of 6 x 7 to be Shot. Once again Suggest use of “Test back”, 1 exposure of image as a test on each different shot you do. Process that roll first and assess! Image 6. Telstra Video conferencing / Violin Lesson image. Considerations: Talent : Main “hero” - “Real” talent. People on screen, teacher + student in Broken Hill. Lighting: 3 electronic Flashes, “punch through” umbrellas + soft box - no gels. “Backlit” Softbox light is lighting, (rimming) talent. Room is quite big. Note use of “Back / Rim lighting” to set subject out from background. There was no fill light but a “Punch through” umbrella was set up side / backlighting from the right hand side. C utters set up to prevent lens flare! Reflector in close on LHS and RHS. Background lighting also has no gels. Set up to deliberately create highlights on monitor and camera to set them out. Camera: Mamiya RB, 250mm lens, (to compress perspective). Aperture on lens adjusted to match with aperture required for exposure of image on TV monitor. (f4.5 1/2 - f 5.6). No filter on lens, Room was orange! Technique: Image of student and teacher from broken hill on screen pre recorded, best composition chosen then freeze framed. Then shot Polaroid to determine best exposure for screen. (As stated, have learnt to go for slightly, (only slightly), brighter exposure on screen if in doubt.) Modelling lights on flashes turned off. Long exposure for screen, Vicinity of 1/2 , 1/4 sec. Ensure talent still during flash exposure, (with modelling lights off) to avoid double image or black line in screen area. This image was enjoyable to execute as once everything was set up it seemed go very easily. Afterwards the concerto was pleasant also! Required 4 rolls of 6 x 7 to be shot to obtain plenty of options, (spoilt for choice). Once again though, there was one frame though that stood out.
  • 7. .7. PLEASE SEE FOLLOWING FOR COMMERCIAL / ADVERTISING REFERENCES: AXA ASIA PACIFIC HOLDINGS Concise Annual Reports 2000 / 2001 http://www.axaasiapacific.com.au/axaasiapacific/axaasiapacific.nsf/Content/Hol dings+Download+Page CRC WOOD INNOVATIONS Annual Report 2001 – 2002 (people on cover; predominately orange and blue colours) http://www.crcwood.unimelb.edu.au/publications/annualreports.html TELSTRA Annual Reviews 2001 / 2002 / 2003 / 2004 / 2005 http://www.telstra.com.au/abouttelstra/investor/annual_reports.cfm? ReportDate=2005&ReportType=1 Half Year Report 2005 http://www.telstra.com.au/abouttelstra/investor/annual_reports.cfm? ReportDate=2005&ReportType=1 Interactive Review 2002 www.telstra.com.au/abouttelstra/investor/annual_reports.cfm? ReportDate=2002&ReportType=1 TELSTRA COUNTRY WIDE Advisory Board Reports 2001 / 2002 / 2003 / 2004 / 2005 / 2006 http://www.telstra.com/countrywide/?tR=4