SYSTEMS & PROCESSESS - STUDIO PHOTOGRAPHY 2 pear

after trying out several fruits in the studio i settled on using a pear, i also researched the lighting techniques, both of which can be found on my blog posts. This is my final peice for the studio photography no2.

high key- very few shadows with not much contrast.

low key- quite dark but with beams of light shining on object to show form and colour.

45/45 - light to the right of the fruit at at 45 degree angle and above at a 45 degree angle casting a shadow as seen in image above.

back lit - creating a halo effect around object being lit.

top lit - quite bright with only a shadow aroun the bottom of the object

high key

top lit

low key

back lit

45/45

SYSTEMS & PROCESSES - CAMERA/LENS TECHNIQUES 4

for the forth part of camera/lens techniques we were asked to use fast and slow shutter speeds to freeze action or get the effect of motion blur

for my pictures i decided to go to the motorway bridge i knew here i'd be able to use both fast and slow shutter speeds to show the effects desired.

as you can see the two images above have been taken on a slow shutter speed and this has caused them motion blur

althought these to images are quite dark they have been taken on a fast shutter speed and show no sign of motion blur and there for give the impression of stillness with no movement.

SYSTEMS & PROCESSES 1- LOCATION PHOTOGRAPHY

for the first part of the location photography we were asked to find and photograph an object lit by the following light sources:

• fluorescent
• incandescent
• sodium
• halogen/tungsten

this lighting is incandescent and was taken using a household bulb for lighting as you can see there is a slight orange tint (warm) to this colour of lighing

this light is taken with the same source of light as above but with my camera i have changed the white balance setting, which corrects the lighting and takes away the orange light.

fluorescent light, quite a white light with a cool feel to it.

sodium lighting is a very orange colour

halogen/tungsten lighting in conparison to the fluorescent i thought they'd be very similar which they are but the halogen has a slightly warmer tone to it more 'cream'

ARTIST - RESEARCH

whilst researching artist i came across this artist Carl Warner, he specialises in foodscapes, landscapes made from food only.

i have a powerpoint with some of his work on but am unable to put them on here so here are a few of his other images that i've found on the internet.

you can also have a look at his website http://www.carlwarner.com/ which has some fantastic images on and there's a video on you tube in which he's interviewed by richard and judy and talks about his work.

one of my favourite images made with salmon slices for the sea, black bread, potatoes and beans for rocks and a pod of peas as a canoe.

CONTROLLED & MIXED LIGHTING (WORKSHOP)

Today i attend Andy's Friday workshop - controlled and mixed lighting. below are the pictures taken with Andy and the type of lighting used.

CAMERA SETTINGS:

• ISO 800
• WHITE BALANCE: Tungsten
• APERTURE: Aperture priority

taken with tungsten lighting

tungsten lighting but futher away from model

tungsten and floresent lighting

tungsten and floresent lighting and a flag backlight to stop lens flare.

tungsten with daylight above

side and backlight (backlight has no cover)

side and backlight, backlight with no cover - flagged to stop lens flare.

as above but also with floresent lighting under models face to create catch light in the eyes.

white balance is now set on day light.

with tungsten lighting the dimmer the light the warmer the tone.

below are some more pictures with different setup using tungsen, floresent and daylight lighting.

whilst taking part in the workshop i found out how changing the light sources or even the white balance on your camera can effect the image and mood (cold or warm), i also learnt about catch-lights in the eyes and how creating these with reflectors of the actually light source can make the model seem more "alive" and add to a portrait.

CAMERA/LENS TECHNIQUE - DROP FOCUS TECHNIQUE

DROP FOCUS TECHNIQUE

drop focus technique is usually taken with a large format camera where the lens can be tilted to get the desired effect, here its been taken with a DSLR and from an oblique angle to achieve the same effect. with drop focus there is also just a small band of focus which normally lies on the object where you eye would naturally fall.

this is my example of the technique.

for the picture i used studio lighting which was continuous light and a small LED torch light to create a slightly cold winter feeling to it. I edited it in Photoshop to make the colours more vivid and also put a candle flame on to it as the original image was not lit.

below is the original unedited image along with the image where i got the candle flame from.

this is the image which i took the candle flame from.

the image temp was warm up to maximum as initially it was a white candle, this was done to achieve the red glow in the flame.

this is the original image which later has had the temp increased in Lightroom from 3900 to 7500 and the light fill increased from 0 to 34.

cAMERA/LENS TECHNIQUE - DEEP DEPTH OF FIELD

Depth of field (DOF) refers to how much of a photo is sharp in front and back of where you focus on the main subject. DOF is primarily controlled by aperture size though other factors come into play such as the focal length of the lens and the distance the background is from the subject.In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate which means that all or most of the picture is in focus from front to back. It is often used for capturing subjects in the distance, such as in landscape scenes.

The further away your camera is from the subject, the greater the depth of field. Higher f-stop number is used to produce deep depth of field.