This document provides lighting, camera, and technique considerations for 4 commercial photography studio shoots featuring hands. Key details include: 1) Using paid hand models and ensuring well-manicured hands and nails. 2) Employing back/side lighting on hands using flash grids, reflectors, and gels to create depth and dimension. 3) Using medium and large format cameras, long lenses, and movements to isolate hands with shallow depth of field. 4) Refining lighting and compositions over multiple film tests and digital proofs to achieve clients' desired aesthetic feels.

1. .1.
VBS805 COMMERCIAL PHOTOGRAPHY
HAND IN STUDIO: WITH/WITH OUT PRODUCT (VIC DEAF A/REPORT?)
HAND WITH PRODUCT
Image 1. PIVOT – Hand with seedling image.
Considerations:
Talent: Paid “Hand” talent. Even though limited depth of field, choice of
appropriate hand talent really important. Hand/Nail manicure a MUST!
Lighting: Lighting on hand and product, electronic Flash - 1 grid from back RHS
plus reflector positioned on LHS- no gels. Note use of “Back / side
lighting”. There was no soft fill light above camera, as “Dramatic feel”
was requested. Also shadow area underside of hand a MUST for
aesthetic reasons, (narrows hand). A light with a grid was then directed
into a strategically placed small mirror to light soil at base of seedling
stem.
Background lighting – Blue gelled light “Mottled” through tree leaves /
branches to create “Mottled background”. “Warm / amber” gel on spot
positioned appropriately for hand. Note spot with “warm” gel for “glow”
around stem.
Camera: Sinar 5x4, 150mm lens. ‘Movements’ used to attain limited focus and to
accentuate “narrow depth of field effect”. A process that required
patience and a critical approach to composition and lighting.
81A + Sinar soft, (OD3 from memory) filter on lens.
Technique: Talent’s arm / elbow set up on support to enable stability and to control
composition.
Set this shot up the night before actual shoot and used Lindsay’s hand
for practice. Exposed some sheets to ascertain exposure and lighting
relationships.
Client requested an “Arty”/ “Rustic - Earthy” feel to the image.
Definitely did not want a “slick” result. (Consider market for product!)
When final result on 5 x 4 sheet film was achieved, we then had it
printed onto a textured stock and then rephotographed it to
“degenerate” the “quality”.
This image required somewhere between 10 - 15 sheets of 5 x 4in film
to be shot to obtain final image.

2. .2.
Image 2. UEComm Prospectus front cover
Considerations:
Talent: Used Lindsay’s hand for this image. We often use his hands, as they are
quite good! Shot on location. Ensured he had had manicure before
shoot!
Once again, even though limited depth of field. Hand manicure a MUST!
Lighting: Lighting on hand and product; electronic Flash - 1 grid spot from top,
back LHS plus reflector positioned on RHS- Amber gel. Note use again
of “Back / side lighting”. One grid spot from side LHS – Amber gel also,
(allowed this to spill onto background also – RHS, to de-saturate blue in
that area)
Background lighting – Blue gelled spot, top RHS.
Camera: Mamiya RB, 50mm lens with extension tube #1. Shot this image
stopped down considerably. CROPPED! As hand quite ugly and over
prominent on bottom LHS if not done so. Often find that cropping when
working in close will facilitate nicer shapes and add to the aesthetic.
Need a medium to large format or large file size to work with though!
(6x6, 6x7)
No filters on lens.
Technique: Talent’s arm / elbow set up on support to enable stability and to control
composition.
Client requested an “Edgy”/ “Electronic feel” to the image. They also
wanted a sense of immediacy also. They actually requested “Cross
process as a means of creating an almost posterised effect. This image
was shot using Kodak 100D and then processing it C41.
A single colour print (Pegasus) from CPL was supplied to client.

3. .3.
HAND / HANDS ON OWN (Similar concept to “VicDEAF Annual report)
Image 3. TOLL Annual Report front cover.
Considerations:
Talent: Used Lindsay’s hands for this image. Hand / Nail manicure again a MUST!
Lighting: All references to Left or Right refer to “Camera Left or Right”.
Lighting on hands; electronic Flash - 1 grid “Square” from top, “Side” RHS (1/4
Amber gel), plus reflectors positioned on either side of camera. Note use again
of “Back / side lighting”.
Cutter positioned to keep this lighting off suit! (background).
Background lighting, (suit) – Electronic flash. 1/4 amber gelled spot grid, top
RHS. Very carefully positioned! to rake across suit and tie. Cutter positioned to
put shadow on area where type would later be placed.
Camera: Mamiya RB, 127mm lens. Shot this image around f8 to allow suit to drop out of
focus so type, when positioned, would stand out.
81EF filter on lens.
Technique: Talent’s arm / elbow set up on support to enable stability and to control
composition, (Camera right).
Lower hand had elbow resting on purchased bench top that was set up in
studio to simulate Jarra, (perceived as expensive timber) boardroom table. -
CRUCIAL THAT GAP BE LEFT FOR TYPE TO BE DROPPED IN, (in a dark area of
suit).
Initially client, (Design company), requested CEO of TOLL, Paul Little to act as
Hand talent, (not a good idea!) We had to comply with this request, (having
pointed out the problems associated with this before initial shoot, - broken
fingers from previous car racing accident, manicures etc!) He decided very
quickly he did not want to do it and then in our own time we manufactured &
engineered a successful image.
This image required 3 attempts, (including 1st with Paul Little), to create
image where type fitted exactly where it needed to. Although 1st attempt with
Lindsay was really to nail down lighting and composition with the 2nd version a
“Polished” result of this.

4. .4.
Image 4. RMIT “TRAINING” Brochure.
Considerations:
Talent: Booked professional hand talent for this job. Had casting with Designer
client to establish who was suitable! Hand / Nail manicures again a
MUST!
Lighting: All references to Left or Right refer to “Camera Left or Right”.
Lighting on hands; electronic Flash “Tungsten Modelling Lights +
controlled available light!”
Used available light as “base lighting” near a window and then
accentuated , (Rimmed / side lit) hands / grey shirt with lighting
provided from 3 strategically positioned tungsten modelling lights from
3 Elinchrom 3000 pack heads, (grid spots attached). Used these as
against using conventional tungsten lights due to ease of grid spot
capability and that they would be positioned reasonably close.
This was done to produce a natural, “un-studio like feel” even though it
was shot in the studio. Positioned large hinged flats either side of
camera to produce soft fill.
Camera: Mamiya RB, 250mm lens. Shot this image, (and all from brochure),
aperture wide open to allow backgrounds to drop out of focus.
Orange filter on lens to lighten skin tones on hands and to slightly
increase contrast.
Technique: On this front cover image, LHS talent’s arms / elbows positioned on “X”
marked spots on table to facilitate him being able to move them for a
rest if necessary.
Deliberately sought to use dominant / strong diagonal lines of
composition to create image(s) that were graphic and structured. Often,
the camera was “Dutch tilted” to facilitate and accentuate this. This, to
support a “Feeling” of “Energy” and “Movement”.