Influential Ideas

Gokhan Bartu Yuksel

In this shot he selects the studio lighting to hit the model straight

on which doesn't create a smaller or larger side of the face... but if the light

was at head height this would create a very flat image as no shape to the

face would be seen. Therefore to still allow small definitions of shadow to be cast the

light source is at a high angle and looking down onto the subject

so that shape under the models brow, cheek bone and chin can be cast

into shadow creating a more 3 dimensional image.

The way the lighting has been positioned here is very good

as it creates many levels of depth to the image and by

complementing the female body shape. The model has been

positioned to stand at a right angle to the camera and only her head

is turned slightly towards us, this allows for a much more interesting

composition of body shape across the back, shoulders, breasts and

neck; the lights have been positioned so that different tones are

cast across the upper body giving us the depth in the the picture.

Here again Yuksel has used a straight on but high angle main

light to light the model, as in the first image, creating definition

of shadow and that is very effective here in bringing forward the

models face away from the neck as the lights cast the neck in a dark shadow.

Nicolle Clemetson

This photograph has been taken on location (not in a studio)

and as you can tell it looks very surreal in that it uses studio

lighting to light a scene; And i use the word scene because

Clemetson has used studio lighting to highlight areas in the

garden also such as the grass and the fence to add quite a

deep feel to the image. I think that she may have also used a lens

longer than 50mm as I am pretty sure that foreshortening has begun

to occur in the image bringing the background larger. A small

aperture was also used here so that a large depth of field was

created keeping the length of the garden in focus and so that the

sunset in the background was not to bright giving interesting

silhouettes to the trees beyond the fence.

These portrait shots look almost doll figurines because the lights have

been used to make the skin of the models look for smooth and full.

Pauline Darley

Here, Darley has used black and white photography to give

a more contrasting effect on the images and so the lighting

setup has been decided on how to best create the contrasts.

The light hits the side of the models face to create a pretty

flat surface especially on the nose which makes a much more

contrasting tone to that of the dark hair and clothing.

The black clothing is very effective at keeping a lack of definition

when not in the spotlight of the studio lighting, creating

almost a monotone shape for the head to then appear at the top of the coat.

The grey backdrop is used wisely as it does not clash with the

subjects skin tone or that of the dark clothing other wise the

harmony of the models contrasted tones would become lost in

the background is it matched to closely.

This photograph is a good example of how the model and the camera have worked together to create the effect that was looked for. The idea of a spinning head or drunk is created by the models 'sloppy' expression and the picture blur, perhaps created by shaking the camera or by selecting a slow shutter speed.

This image shows the removal of contrast as the model is

pictured after taking off her jet black wig.

Sam Baker

Sam Baker uses studio photography on location to profile
portrait African tribesmen and the images look amazing. The studio
lighting and the natural lighting work very well with one another.
The second image I would say has used two flashes to light the
subject; one to the front of the subject and to the right of the
camera to light the subjects left and create a shadow on
the neck and one behind the subject to the left to
create a brighter definition on the subjects right arm bringing
them forward from the background.


Glen Fletcher

Glen Fletcher uses studio photography to capture
'still life' subjects such as sports equipment but he has
a very unique way of creating shape and form by thinking
outside of the box. Fletcher thinks further than lighting the subject
but to what the subject can create on the background in this
case the shadow becoming abstracted by a ledge.


Anil Akkus

In these shots Akkus has used the lighting very softly to
create only just enough defining shadow to show the
shape of the white objects. These photographs hold a sense of
purity about them. In the fluffy cocktail glass image Akkus
uses rim lighting to bring the subject forward in the picture.


Jonathan Dueck

Dueck has created a miniature still life scene by creating a mini
studio and placing within it the small scale equipment of a
forest camping site. 



Ken Herman

 

Ken Herman is going to be one of the biggest influences on
my photographs as I will be using a skateboarder as my subject.
I find Hermans images really inspiring to what can be done and I
love the use of lighting to not only light the subject but to creatively
light the surrounding area which starts to tell a story about
what a skateboarders environment is.
I like the use of lighting to show the curves of the pools and the
environment that is geometrically interesting.

Ken Herman: Hasselblad Master 2012


Roberto Alegria

Here Alegria uses a flash to freeze the motion of the skateboarder.
He uses the flash from a low angle to make the skateboarder to look higher as
there is more element of the picture appearing below the subject.


Composition

How to: Composition

This video is more relevant to photographing a moving skateboarder but the
tips on the lighting of the scenery around the subject is very helpful.