181106 Fashion Photography course Chapter 4: working with natural light Chapter 5: working with manufactured light Chapter 6: creating great pictures

1. FASHION
PHOTOGRAPHY
COURSE
By Eliot Siegel
CHAPTER 4, 5, 6
BOOKCLUB
GAMBAR COVER BUKU/
GAMBAR PENDUKUNG LAIN

2. 1. Direct sunlight
2. Backlight
3. Diffused light
4. Made in the shade
5. Indoor ambience
Chapter 4
Working with Natural light
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3. Direct Sunlight
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Photographers refer to the direct
frontal sunlight that occurs just after
sunrise and just before sunset as
the “sweet light” or “magic light.” It is
the most flattering light and has
remarkably warm colour saturation.

4. Direct Sunlight
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Direct sunlight will fill in the planes of the
face beautifully, usually helping to create
a healthy looking model. But when the
sun gets too high in the sky, the quality of
light changes, creating potentially
problematic shadows.
Metering direct sunlight
Have your subject with the sun
streaming directly onto his or her face
and body, and place the light meter so
that the receptor bulb is taking the sun
at the same angle as the model.

5. Backlight
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Backlighting is a natural lighting
technique that doesn’t require an
early start.

6. Backlight
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When metered correctly,
backlight reveals a beautiful
halo of sunlight around your
subject, which changes in
strength depending on the
amount of light you reflect
back onto the front model.
Metering backlit subjects
Metering subject that are backlit is
trickier than metering direct sunlight,
but practice goes a long way.

7. Diffused Light
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If your subject is placed in direct
sunlight and the sun is high enough,
you need to diffuse the light.

8. Diffused Light
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This is the perfect opportunity to place
a device known as a “silk” over the
model and block the harsh light from
their head and body.
The silk usually comes up with a
lightweight frame and a selection of
silk like sheets of varied thickness that,
when placed between the subject and
the sun, diffuse strong direct sunshine
to different qualities of softer light.

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This technique known as “made in
the shade,” the particularly flattering
light that occurs just after sunrise
and before sunset.
Made in the shade

10. Made in the shade
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Waking up to catch a sweet light is
not only inconvenient, but also
expensive and tiresome.
The perfect solution
Create your own shade using an
opaque silk overhead to achieve
similar results.
It’s particularly beautiful when there
is sunlight bouncing around walls
and windows, spicing up the shade
with natural sparkle.

11. Indoor ambience
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A studio with massive windows on at
least two sides, with fantastic natural
light pouring through them.

12. Indoor ambience
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Working in a daylight studio can be
a wonderful journey of discovery
because sunlight can change its
character from minute to minute.
When natural light is used correctly,
it is perfection.
Accessories for a daylight
studio
A well-placed reflective panel
will soften the scene without
ruining the wondrous quality of
the daylight.
Metering daylight in the studio
Metering is required to keep everything
in position so that the elegance of the
model and the clothes are kept under
control.

13. 1. Strobe lighting
2. Background lighting with strobes
3. Taking strobes outdoor
4. Continuous lighting
Chapter 5
Working with Manufactured Light
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14. Strobe lighting
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Strobes are the lights that are most
used by contemporary fashion
photographers.

15. Strobe lighting
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There are two of strobe equipment.
Monolights have a strobe head with a
built-in power supply. Multihead strobe
units utilize one shared central power
pack and up to four separate lights
heads that are connected to it.
Shoot-through umbrellas
A shoot-though punches the light through
the front of and behind the translucent
umbrella material, you need to block the
light from entering the camera lens,
which can cause flare.
Softbox
A softbox produces a soft, warm and
neutral tone lights. The quality
photographers appreciates in the softbox
is its ability to “smooth out” facial
complexion and slight wrinkles

16. Background lighting with
strobe
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This simple studio lighting design
will work for a number of tasks, but
there will be times when a more
complicated solution may be
necessary.

17. Background lighting with
strobe
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Using only one front “main” light implies
that the light exposure on your model is
normal; therefore, the exposure on the
background, which is 8-9 feet (2.5-2.7m)
away from the subject, is several f-stops
darker than the front of the set.

18. Taking strobes outdoor
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Outdoor strobe can be used to
overpower the existing daylight and
create dramatic look

19. Taking strobes outdoor
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The power of strobes unit is the
deciding factor. A low-power strobe
can only overpower a low ambient
daylight.
Equipment
Strobe generators, are typically used
outside on location, and can supply
between 400 and 3,000 watt
seconds of power depending the
unit.

20. Continuous lighting
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Reflecting back on the iconic studio
portrait of the 1920s through to the
1950s. Not only to illuminate a
photograph, but also to create a
dramatic yet flattering look.

21. Continuous lighting
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Continuous lighting is categorized by four
distinct types of unit:
Tungsten, ceramic, HMI, and fluorescent
Tungsten
Is a high-output unit that uses an incandescent
tungsten-halogen lamp.
Ceramic
Ceramic lights use an efficient lamp that,
at one-quarter the power of traditional
provides four times the amount of light.
HMI
(Hydrargyrum medium arc-length iodide) lights
have several advantages over tungsten lights.
Fluorescent
Are a large casing or “bank” filled with up to eight individual fluorescent,
which produce a beautiful soft light with an interesting contrast built in.

22. Chapter 6
Creating Great Pictures
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23. Topic 1
Composition
Simple vs Complex
Objective:
• Select the appropriate compositional style
• Learn the key foundation of a good shot

24. Objective:
• Pinpoint viewer’s attention straight to model &
fashion
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Fashion and
styling speaks
for themselves
Great hair and
makeup are
especially
important in
simple shots.
Simple Composition

25. Simple Composition
1. Uncomplicated Background
2. Interesting product placement
3. Straight-to-the-point apa yang
ingin di-highlight?
4. Less is more

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Complex Composition
Objective:
• To make photographs
interesting & visually
provocative

27. 2. Circulate
viewer’s
vision around
the image
3. Can take
focus away
from central
subject
4. BUT if done
well, can
intensify &
support
fashion aspect
Complex Composition
1. More details

28. Example 1:
Incorporates repetition of
rectangles and lines that
serve to organize and
strengthen visual space
Technique 1:
Working with shapes

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Technique 2:
Setting the tone
Example 2:
The combination of
unusual colour with
interesting balance creates
a unique mood and
atmosphere
(Making the most of subdued
natural lighting)

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Technique 3:
Linear Effect
Example 3:
The strength of this image
lies in the combination of
the bold internal frame with
the lines of the venetian
blinds
(A stronger light behind the model
than that in front of her skirt more
transparent, adding visual
interest)

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Technique 4:
The Rule of Thirds
Keep this grid in the back of your
mind and apply it whenever you’re in
doubt

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Technique 5:
Movement
Adding movement to the balance
creates further visual stimulation

33. Winning combination:
Use the rule of thirds in conjunction with
movement creates further visual
stimulation

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Technique 6:
Creating a visual internal
frame
A photographer can create an internal frame
photographs by using shapes, objects,
shadows or highlights.
This creates an interesting added
depth to the image structure.
It’s a useful tool for guiding the eye to
the model and the clothes she is
wearing

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Topic 2
Contenton

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1. Clothes/style to shoot

37. 2. Where to shoot

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3. How to shoot
- What kind of lighting? (artificial/natural)
- Props required
- Type of lens used

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Objective:
Decide when to use a complex
or simple background
Content rich: This image has a complex
background that manages to detract from the
main focus of the model and the clothes,
emphasizing the importance of balance
Plain White: The white
background heightens the
strength of the image and the
impact of the fashion

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Topic 3
Attitude on

41. Direct your model!
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Objective:
Be aware of the attitude you’re trying to portray in
your work
(Magical: The posture,
accessory and model’s
general appearance give a
magical and dreamlike
quality)
(Aggression: The highly
stylized makeup and
hair combined with
outfit and expression
give this image plenty of
impact)

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Topic 3
Movementon

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Objective:
Understand the differences
between and benefits of still
and moving models
Fashion photographers
decide quite early in their
careers whether they
prefer to shoot models in
movement or static.
Others are happy to use
whatever method that
works best for them at the
time, depending on the
specific requirement of the
job.

44. Static
• At least 70% of
fashion is shot
statically.
• It is easier to see the
lines and intricate
detailing of an outfit
if it isn’t moving.
• Stylists ensure the
fabrics drape the
way the designer
intended, keeping
the ‘look’ intact
(more control)

45. Movement
• Some photographs
demand movement,
which adds a certain
dynamic to an image
• Creates an excitement of
vision that cannot be
reproduced statistically
• A model flying through the air
demands and receives attention,
regardless of the plainness of the
surroundings /state of the
garments in movement

46. The Framen
Topic 4

47. Objective:
Learn the classic ways to frame your shots and achieve
maximum impact
Landscape
Portrait
Square

48. Portrait
• A vertical rectangular frame is
known as a portrait
• At least 90% of fashion
photography is shot in portrait
• Perfect for magazine shots

49. Landscape
• Landscape formatting
allows you to create a
double-page spread
(DPS) in magazines
Art directors like to use double page
spreads as the opener to a large
editorial story and also for important
fashion campaigns

50. Square
The classic square
format is found on
certain medium format
cameras, and offering
photographers higher
quality than 35-mm
camera
Unless the photographer/art
director have agreed to use the
image in its entirety, the image
must be cropped portrait/landscape
to fit printed page

51. THANK YOU
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