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This
setup evolved just slightly from
the previous one:
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Victoria
is now nude (the crowd
cheers).
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I've
put the backdrop up on the
wall.
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The
angle, while still on the low
side, is more horizontal.
It
is possible that the light
position has changed slightly, too
-- you can see the edge of
Victoria's shadow here, where it
was less noticeable before.
With
the more horizontal aim of the
camera, I am able to intermix
images from both the digital and
the film camera. |
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You
know, the Shirt
Dance setup set the mood
for this whole sitting -- once
Victoria started moving, she
didn't stop, and I loved
it. I'm a low-key,
sedate, mellow kind of a
fellow, and I'm quite a bit
older than these models;
there's a tendency for them to
bring their energy level down
to meet mine. Instead, Jennifer
taught me that this didn't
have to be so. Sure, I
provided the lighting &
the mood, Victoria provided
the figure & the movement,
and together we produced some
fun
images. |
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Okay,
I can't do a single light source
setup for long -- it's just not in
my nature. I like some
kind of definition on the
"off-side" of the
figure. Sometimes, I use a
slightly dimmer light source on
the far side of the model.
Sometimes it's
enough to shine the light source
at the background, which then
creates the shadow edge of the
figure in front of the lighter
background. See, for
example, this image below from my
California days:
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As
before, because the studio is
small & the lights are
close, small changes in
Victoria's position (forward
or back) make significant
changes in the lighting &
the image. Victoria is a
perpetual motion machine this
day, and
we get to see a variety of
these changes.
I
like this image -- the light
on her face is a bit brighter
than the light on her torso
(because the main light is
high);
her shape is interesting; her
figure is slim &
appealing; and she is in
motion. Oh, yes, I also
like the classic lighting on
her right breast. Let's
call this a sitting favorite. |
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Here's
an interesting shape -- I
definitely like
it. |
The
left one is a film image; the right one
is a digital image.
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Before
you mention it, I'll admit that I
didn't do a great job
technically with these
images. I've got to
learn to be more
careful. In my defense,
the digital images are
deceptive -- the LCD screen is
tiny, and images that may
appear to be properly exposed
on the screen may not in fact
be well exposed, and that was
the case here. I've got
to learn how to look more
closely at the LCD images. The
digital camera helps with the
overall light placement, but I
should rely on my old skills
when determining the proper
exposure.
But
I like that Victoria's hands
are occupied, in this case
with her hair (and you can see
her hair against the dark
background). That's
always a good thing -- keeping
a model's hands busy.
That's easier said than done,
but if you can, it almost
always works. |
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I
can't tell you how much of a treat it
is to work with Victoria! She
always looks great, and she
immediately took to the idea of
moving.
Somewhere
along the line, my technical controls
slipped during this sitting, and these
images are as well exposed/developed
as they should be (and unfortunately,
the same is true for the next page's
images). And I have to say that
this was also true in the previous
sitting with Brooke, but this sitting
with Victoria occurred before I
completed the processing of Brooke's
sitting.
So,
lessons learned:
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While
the digital camera's LCD screen is
useful for fine tuning the
placement of lights, it is not a
good tool for previewing the
exposure. I need to be more
careful about exposure, using my
old techniques.
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Movement
makes models happy.
Victoria's
second sitting concludes on the next
page:
Semi-Horizontal
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