No prizes for this one.  Paris, 24th July 2011

Every problem here! Mixed lighting sources of twilight, bright neon light, dark street; and thus exposure problem, then perspective and a large depth of field required from the close metro sign to beyond the moulin au vent voiles;  and don't forget this was hand held, so slow shutter speed! All discussed in the relevant sections of the notes.

Nikon D850, 60mm

Ilia, Knighton Studio, very basic set-up: two soft lights and a back-sheet drop, no M.U.A. (no Make Up Artist). Jacket: Charity shop 5 euros, Llandrindod Wells 24hrs previously. Feb 2022                                                       Nikon D850, Minolta Rokkor 100mm 

(80 to 105 is best focal length for portraits. Shorter is OK - it depends upon how far away from the subject you place the camera.) 

'Beauty is like a rich stone, best set plain' (not mine - Francis Bacon - and worth remembering): often the main subject may be beautifully composed, but the shot is confused by a fussy background, clothes, hats or autos that the photographer wants also to highlight, even though they are only a supportive part of the message. Some photographers just cannot take the shot of a male or female without a 'justification' or distraction - it is difficult to not do this and at the same time include useful info.

See 'Use of Filters' for the 'David Bailey-Twiggy' look of whiter face, no zits, and shadowy eyes with dark lips - very popular even now after 60yrs, although this pic is only a year old! (Yes, all right, this WASN'T a true example because I didn't use a red filter - if I had, in black and white the red lips would appear even lighter than they do here, requiring darkening (for why, and how -         see 'Use of  Contrast Filters')

I like this, because Ilia looks as though the model is airborne/twirling and her eyelashes, just visible, make the shot less of an impersonal rear shot.

However! Isn't there always a however! Have a look at the white petticoat above the right knee - yes it's the top/bodice of the skirt, but drooping down: it should have been pulled up to the model's chest but she was so slim it wouldn't stay up and therefore dangled along with the petticoat layers! Attention to detail is required before you press the shutter! She twirled on the backing-paper roll and it twisted and became crumpled, so a wood board was inserted between the carpet and the paper. AND! Apart from nice limbs, hair and nails, clean and manicured feet are required!

Tech:

Electronic flash is equal to a shutter speed of between 1/2000th to 1/4000th sec (although usually there are faster possibilities) Therefore with flash, moving subjects like this are easy, where in daylight there would be difficulties matching sufficient exposure and required depth of field with a shutter fast enough to stop (apparent) movement! (See Electronic Flash)

For 'effects' it is possible to purposely 'blur' the image whilst at the same time obtaining a 'double' or second sharp image (from the fast flash), but leaving the shutter very slow so that any natural light in the studio also prints anther image - but blurred of course. The notes explain - it doesn't always work but, when it does is effective. Yes I know your modern digi-camera may have a shutter speed of 1/8000th sec, but this will be a the cost of  depth of field and/or detail (just like film, in fact!) and may or may not synchronize with the flash units at this speed.

Modern digi-cameras (TTL focal plain) when used in the studio may (whatever their max shutter speed) have only a relatively slow (1/160 -1/250th) recommended shutter speed for flash. So why does the fast flash work without blurring? Because most studio normal lighting at 1/160th with say f5.6 - f16 is not powerful enough to compete with the zap of the flash during the usual recommended shutter time. (OK, it's a little more complicated but the notes explain! In short, the zap of the flash is only there for 1/4000th second during the shutter's complete opening of a longer 1/160th, but without enough non-flash light! Got it?)

Does anyone sit like this? Or only when you ask 'em to! Well, maybe.

Ilia, Knighton, 2022

Nikon D850, Zeiss Biotar (1952/5 Red T pre-set) 58mm (less than preferred 80-100, I know, but it depends upon how close you are and whether there are feet or hands (or cigarettes) closer and thus both out of focus and perspective. (Why? - see the module handout re lenses, particularly tele or short-tele lenses re what they really do)

Nikon D850, 60mm macro

Colours you can check out with your art teacher, but gold and mauve always look good. Sometimes sunglasses will flare, though here it's not too bad; a polarizer filter might remove this  (for 'why?' see Filters) or a dulling spray on the shades, but the filter will require more light, and ? And require a slower shutter (which with flash may not be suitable (see notes on the 'petticoat' shot) and/or a wider aperture that would reduce the depth of field - a reduction that you may not want.

Authentic kimono and belt, cardboard mask! BTW the rolling stool should have been obscured!

Nikon D850, Pentax 200mm

This was a studio job, and with such a long telephoto lens I was sitting almost outside the studio on a swivel-stool  so I could whizz with instructions on my wheeled stool to and from the model! Note her elegant fingers - NOT like bunches of bananas - and the pointed toes: watch the judges comments on 'Strictly Come Dancing' - same thing! Although a tele-lens reduces perspective problems, it will also shorten depth of field, this problem lessens with increased distance from the subject. Here, although a tele shot, Chloe's eyes, limbs, ears, hands, the stool and the dress are all 'in focus'.                                                           See 'Perspective' and 'Depth of Field', 'lenses and Focal Lengths'

The jacket was too wide, the slacks too long, so I asked Chloe to 'just drape 'em!' (you can use pins and clips to hold incorrect sized clothes/props in place!)                                              Nice for Nikon D850 with a 70yr old Zeiss Tessar 1955/8 50mm f2.8 lens! 

And the perspective? I just stood further away and then enlarged and cropped the frame. Why does this work? See Normal and Tele lenses, field of view, Depth of field and Perspective. And her eyes/nose are on specific dividing lines' intersections - useful in all photos to highlight the main subject and also balance the composition for ease of viewing - basically, it just kooks better! What lines? Draw in diagonals and then divide the frame into thirds horizontally and vertically - these lines will meet at the crux point(s).  Check this with magazine and artists' pictures. There are exceptions, often in advertizing shots that will be different to highlight the product rather than the composition. See 'Composition, 'Lenses and focal lengths'

'The Ghost Train', All Souls' Dramatic Soc., Southport: Lord Ronnie Fearn production. 1968

Praktica lV, Meyer 135mm, flash'bulbs', digitized from a 60yr old Agfachrome negative

A straight-forward 'old-fashioned' flash on camera photo, although this one at least benefitted from distance, courtesy of a 135mm telephoto; even so, there are still some shadows.

There are ways to shoot flash, indoors or out, without shadows, shiny highlights or bright flashing eyes - even in 1968!

Here is a standard method of a telephoto lens (only 135mm was used) with flash on or close to camera, positioned away from the stage. The result is that the reflected light from the subject has further to 'spread', much of it whizzing past the lens, resulting in a more balanced illumination and less of the shock of light hitting the negative/sensor - well, very basically this is a good way to remember it!   See 'Using Flash and Studio Flash' with longer lenses

Be ready for that surprise opportunity - in this case the resting (probably bored) model and the stage mask hanging in the background. Studio-flash usually will light softly the whole studio, where-ever you point the camera, even behind the 'set', without having to re-position the lamps, and will fire automatically if you leave the lamps 'on', as was the case here.

I used the wind machine, I remember Chloe got goose-bumps!

Rembrandt lighting here, very nearly. With blond hair, white silk scarf, black jacket - it's necessary to get the contrast right to have detail in the whites and at least something in the dark blacks!

See 'Your camera, your brain and your eye' regarding contrast and the other basic corrections that your eye (like your camera) requires your brain to take care of!

and ask an old English lady what 'goose-bumps' means! (I think you say 'avoir la chair de poule')

Another quick 'chance' shot without posing: at lunch in the Plaka with just soft daylight under a Greek restaurant's covered awning. Sometimes the blue light often encountered in 'covered' situations is balanced naturally by sun reflected from a stone or painted wall: pretty much what can be seen here on the cheek and ear, and blue light above on the hair.

Athens, Plaka, 2012

Classic mistake! We used to shout to the model about his/her clothes: 'pins', 'label', and, in less PC and WOKE times: 'teeth, t---, tummy,' but I don't remember 'price tag'!

You'll have to ask an English lady about 50yrs old to explain this one!

Ilia practicing for Audrey Hepburn shoot. (Yes, but in mono, auburn and red-tinted hair appear black!)

(Cigarette? It's false before you ask!)

And yes, you should check out 'Depth of Field' - we want the cigarette end AND her eyes and ears in focus!

No alcohol for you two!

Just thought you'ld like a laugh with this one!

Nikon D850, 60mm macro, and I admit, auto everything and? Yep, eyes, even both sets, are on diagonals.

Nikon D850, Pentax 200mm from a stool almost back into the street! 

Perspective fine, but the cost of this at 200mm is the shortening of depth of field (that which is in focus). However, because studio lamps are so powerful, a small aperture of f11 or less could be used to lengthen the depth of field as here. See also the earlier kimono pic using the 200mm lens.

Check this out in 'Perspective and lenses', 'Electronic Flash', 'Depth of Field'

Two regulars at 'Les Deux Moulins', Montmartre, rue Lepic. 24th July 2011

Nikon D700, Cosina 100mm

Wow! A few challenges. Different coloured lighting, telephoto shorter depth of field, multiple subject material. Check out Extras: "Using what you have learned", where adjustment techniques are explained. Yes I chose the film poster as the key interest, and therefore sharpest focus - my 100mm lens wouldn't have coped with both - compromises eh! Some prefer a wide standard or even a wide-angle lens for 'street' pics; unfortunately, there is usually a problem with perspective, even if the short focal length creates an impression of 'all in focus'. 

Chloe, untypically pensive. Between sessions, Henfield, November 2020

Nikon D850, Zeiss Tessar (1955/8 uncoated) 50mm f2.8

Check out Composition 'Rabattement', and 'Depth of Field' devices - and always be ready for the unexpected shot!

Looks easy, doesn't it? Boys think these are clever, and although anyone can do these, for good pics you'll need to get the lighting right - not always easy. Here two honeycombs (softish lighting panels) were used one either side. The trick is to get detail lighted in the front areas, but not too much, giving a rounded highlighted (rim) subject, but firm solid image. Just because they are nude studies (a la Art Class) doesn't make them good, clever or sensual! Also, just what are you showing - what's the 'message'? Nakedness? well, any phone can do that! Beauty? Sensuality? Realism? - All very well, but does a real female or male really stand/sit/lay like your model? That's the clever bit, combining realism, beauty, sensualism AND a message! Sorts out the photographer from the novice!

Minolta SRT 101, Rokkor 100mm. Digitized from FP4 Film in Tetenal (new formula, unfortunately not the no longer available fine grain 80s solution!)

Check out Composition devices 'Depth of Field', and 'Diagonals  & Thirds', and 'Colours'. The eyes are all on one of the diagonals, and the colours match or contrast

Elbows, fingers, top, scarf, glasses, eyes, shoulder, hairs all in focus, background a little out. Great, this also hides any dust, finger marks or holes in the background sheet.  Focus and Lenses section will explain.

See the Depth of Field and Composition notes

Hampshire, July 2021

Chloe channelling Amelia Earhart

Not quite Rembrandt lighting - See Composition, Electronic Flash

All I said was: 'stand there and wave at the train . . . .'  where do they learn it all!

But what's wrong?  Look at the hand holding the elbow - too big. It's the stretch effect or incorrect perspective - I mean basically too close or too short a focal length or most likely usually both!                                                                                                   Check out 'Perspective, Focusing and Depth of Field as a Composition effect'

Using a zoom lens to 'widen' or 'get it all in' or correct perspective, may bring other problems that you can obviate by simply using a fixed lens and moving your position!   see Composition  and lenses

Below is more of an homage or copy of old photographers' classic shots, but would make a nice project.

Today: Further up on the Rochechouart crossroads near Blanche, there's a raised subway vent where tourists try all day to repeat the Marylin shot (even though some of them probably don't know why! And if you don't, check out the many web sites: Shaw, Marylin, subway, Itch!) Looks easy, doesn't? Yeah!

Outside no. 6, ave Charles Floquet, near Tour Eiffel , Paris

Check out 'Composition  -  Diagonals' and 'Controlling Light - Contrast'

Chloe channelling, well, Chloe!

Sisters, Corfe Castle 2021

Check out 'Composition - 'Rabattement' - almost! All right, I accept not much 'detail in the blacks', but, as with colour digital or slide film, darker black plus correct colour appear to us more acceptable than wishy-washy colours as a result of a greater exposure to detail the blacks. (Try it - it's just the way it is!) The shoulder bag is just about correct, but only just! You will see here the great difference between the very (almost too) white bag and the very (almost too) black cardigan. With film, colours' tones can be adjusted by filtration, and with digital your camera has a device to soften or spread or 'tamp' down the highlights or increase the shadows. However!!! it's all a little hit and miss, because there are limits to what can be done with detail that isn't there!

She could giggle, but she couldn't smile!

Don't ask them to smile, they won't! Say something naughty and they'll giggle!

She got the bottle, I remember

Sometimes you just have to keep going until you get the one your looking for! (or until you get it right!) Expensive in film days, easy now with digital!

(All right, I've cut off the bottom half!) I like this one because the contrast (detail differences in the blacks and whites) looks correct with a rounded but firm overall look. (I think I had asked Chloe to fix the Japanese chopsticks in her hair). The jewellery item could have been removed - jewellery is not required for this type of shot.

see 'Extras' or 'Answers Explained' I think! Anyway see the exercise: 'the Gritty girl and wind machine' for how to get this effect - You could simply use a hair dryer (not as cold!) or ask the model to lay down with hair dangling to look as though windswept.

We tried for the past 100yrs to remove the 'grain' from small (35mm full frame) format, and now that we no longer need to (with digital) we find ways to re-introduce it! Here the gritty 'grain' look was achieved by extreme enlargement of part of the frame, possible because even digital has it's definition limits!

(Yes all right, you would have to turn the camera through 90 degrees!)

Check out 'Extras  Rembrandt Lighting'

Feet and hands pointed, not like bunches of bananas (as my old dancing teacher used to say!) You'll hear the same criticism/advice from the Strictly Come Dancing Judges with regard to posture and positioning.

I know, I know, but this was 1968, two and a half months after the end of steam trains in the UK when 4472 was the only steam loco permitted on the UK rails system, courtesy of astute owner Alan Pegler's loco purchase contract. Here Pegler used the loco on 'The Moorlands' enthusiasts' excursion, seen here departing Skipton. A trip too pricey for me in 1968: I took the Ribble Bus from Southport just to see it!  26th October 1968.                                                                              Praktica lV, Meyer 135 2.8, FP4 film.

Check-out the section on 'Depth of Field and telephoto lenses' for close and distant focusing in the same picture: "The 'Hyperfocal Distance' and "how to use it" sections. You will see here that, whilst the pic above not a bad shot, the background (300-1000 metres), the loco (150 meters) and the lamp and the weeds are all in different focus planes. On this dark day the wide aperture and corresponding faster shutter required for this moving subject has caused them to not all be 'in focus'. If stationary, I could have used a tripod (or wall or gate!) and a slower shutter permitting thus a smaller aperture so that the depth of field stretches (or appears to stretch) over the major areas of interest. It's not possible to get everything in focus, whatever trick you use (really, it's not) but it is possible for it to appear to be in focus (there's a difference!). The Focus modules explain why and how.

Viewed from Skipton unused platform, courtesy of a kind porter (remember either?) and his key to the subway! The classic backdrop is all but destroyed, replaced by featureless business park construction; behind it Millstone Hill and Skipton Moor haven't come under attack - yet. The station remains secure under a preservation (UK patrimony) order. 

Sometimes the less obvious parts of a scene are more interesting

There's always one!

But you have to be quick! And think ahead to the unrequired elements (the child approaching) 

She hates that dress!

Mixed lighting that even my far-eastern gadget-with-lens couldn't correct!

Check out 'The Colour of Light' and 'Colour Correction' and 'White Balance'  Here the colour of the light source was daylight (bluish) from large  windows, but mostly from tungsten yellowy and some flourescent greeny lamps. You can see here the colour change as the light moves from the back (shoulder and hood)  to the cheek. Your eye spots this, and your brain knows there is yellowy light about and lets you record a view that's not too yellow (which your camera and your eye see but cannot alter - unless you take action) but just yellow enough to remind you that you are actually indoors with yellow lights. Your camera needs help!

And the perspective? well, OK whilst wrong (60mm lens too close), it still gives the impression of staring or surprised glaring that a long lens (if used to correct) would not! Horses, courses . . .!

Damp patch, marble top, tiles,  and . . . . . tablet! Normandy, 2015

Indoor daylight again; this was just natural diffused light from three small windows giving all-round soft light without any expensive fancy reflectors! The light would have been slightly blue and required 'balancing' with a yellowy brown filter (digital is the same, just uses electronics to achieve the balance). Your brain does this for your eye, filters do this for your camera's lens, but it's a very lengthy explanation (see Your brain, camera, and eye notes). Check out Colour Correction and 'Composition Tramlines and thirds/diagonals'. This lens was 60mm and although parts of the pic are stretched, this is not noticeable.

21st Birthday girl, 1968, Southport: My assistant manager's sister, Maureen Halton

Praktica lV, Ludwig 50mm triplet, and a very bright flashbulb! FP4 film.

Flash can be softened so it doesn't look like a Press photo as this one does! However, boxing and sports pics often rely on the sharp flash to communicate the idea of drama and action: a soft rounded full-bodied lighting preferable for a great portrait may make a boxer or athlete look weak!

See Extras - Using Flash and studio flash for reflectors, softeners, 'bouncing' and even your handkerchief

Hellifield 2021

Here the depth of field 'faults' are used to advantage as a device to separate and soften

Chloe doing her Suzi Wong.

Afterwards Chloe called softly from the changing room, 'these (make-up) wipes are good'. I said, 'you can have the wipes or the dre . . . . ' Before I'd finished she'd shouted, 'the dress!' Second-hand ebay, I didn't mind! I wouldn't wear it again!

Tech: In noir et blanc red lipstick would simply create deep red lips, great, but so would the blotches, freckles and zits appear accentuated! However if you use a red filter to remove red blotches and zits from the skin, but still used red lipstick, the red filter would also lessen the intensity of the lips ('cos they're red too like the blotches!), contrary to the effect you wanted. Black, green, or blue and to some extent purple lipsticks appear dark in mono when using a red filter, allowing it to take out only the blotches and zits, leaving the black/green/blue lips dark as in the ECU below:

In this selected enlargement the lips can be seen 'dark red': in fact the lipstick was purple, because, as you now know (!) purple is more blue than red based. D850, handheld indoors, Hereford Mayor's Parlour

You may or may not want to use this device, but completing the exercise in the module will help explain how filters work.      see Exercise - 'Understanding Filters').

Some argue 'just use a make-up artist';  I say, 'what ? and paint out every freckle and zit - how much time (and money) do you have!!'

BTW, notice the pearls - they're nicely focused, but, even this is a considerable enlargement, the ears and lashes could be improved - the depth of field in portraiture should not be overlooked nor left to your camera that is often sharply focused on a nose or an eye and sometimes nothing else!