creative fashion shoot with Linda Blissett

Creative Fashion Shoot with Designer Linda Blissett and team

Creative Fashion Shoot with Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala

This creative fashion shoot was inspired by a series of photographs taken by Lindsay Adler.

The Aim

I wanted my model to wear red, or possibly red and black, against a red background. Her make up would have to match, and I wanted to add movement into some of the images.

The Creative Team

For a fashion shoot like this it is important to have a good team. The first thing I did was invite Linda Blissett to come on board as the clothing designer and stylist.  I have admired Linda’s style for a long time, and I realised that some of her designs would be ideal for this project. I was also eager to meet her, because she has always been very friendly on the phone, and chatting online.

I was delighted when Linda agreed, and once she was on board everything became very easy for me. That is because Linda invited the rest of the team without me having to do anything. Brilliant!

Designer and clothing stylist: Linda Blissett
Model: Cerys Wrigley-Moss
Make up: Karen Messam
Hair stylist: Teresa Anna Opiala

I am happy to say the team worked brilliantly well together, and I have to give a lot of credit to Cerys’s mum Karen Wrigley-Moss too, because she came along and her help was invaluable.

Linda and I chose the garment we felt was most suitable, and we gave Karen Messam and Teresa Opiala free reign to interpret the brief in their own way.

creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala creative fashion shoot with Ian Trayner, Linda Blissett, Cerys Wrigley-Moss, Karen Messam and Teresa Opiala

Photography Methods

This creative fashion shoot was done in my photo studio in Kingston upon Thames, Surrey.

The red background is a paper roll, lit evenly using two studio flash heads, one on either side. These heads were each fitted with a 140x30cm soft box. In some shots, two people, standing at either side, waved a lightweight red cloth up and down. I added some patterns and textures to some of the other images in post production. You may notice I added the appearance of shadows from a tree in one image too.

The face of the model, Cerys Wrigley-Moss, is illuminated using a beauty dish fitted with a grid, and her lower body is illuminated with an LED light panel. The latter provides a continuous light source that is adjustable, and has the same (or very nearly the same) colour temperature as the studio flash heads (ie if the white balance on the camera is set to “flash”, the light from the LED appears to be white too).

What this means, is that the photographercan have some areas of the image blurred (due to movement of the model) while other areas are sharp (due to the speed of the flash). This is accomplished using a slow shutter speed. Finding the best speed is a matter of trial and error, and will depend on the effect the photographer wants to create. In some of the above images, Cerys’s lower body is blurred due to her moving, while her face and head remains sharp.

I also added a speedlight above Cerys’s head to give some highlights to her hair.

 

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"Pandora's Box" fantasy photo shoot, Ian Trayner photographer, Yollanda Musa model

Fantasy photo shoot – Pandora’s Box

Fantasy photo shoot with PortraitX and Yollanda Musa

This was a fantasy photo shoot shot under the auspices of PortraitX. The aim was to shoot on location and capture the theme “Pandora’s Box”, with total freedom to re-interpret that story. So, with apologies to the ancient Greeks, this is my own personal version of the story of Pandora’s box.

Pandora’s Box

Once upon a time, there was a very beautiful young princess named Pandora. She had an uncle who was a powerful magician. He was feared by the people and it was rumoured he had a box that contained devastation. But he loved Pandora, and she loved him.

It came to pass that Pandora’s uncle died, and one day Pandora found herself in his quarters, admiring all the curious and strange artefacts.

One in particular drew her eye; it was a beautiful small box. It fascinated Pandora, so she took it into the castle grounds.

“Surely this box can’t contain anything terrible”, she said to herself. “It is so small, and so beautiful!”

Filled with curiousity, she opened the lid… just a fraction. She peered in, and felt a strange floating sensation, and a feeling of intoxication. She was captivated by a mystical green light, compelling her to open the box fully.

Darkness jumped out and time itself became a chaotic blur…

"Pandora's Box" fantasy photo shoot, Ian Trayner photographer, Yollanda Musa model"Pandora's Box" fantasy photo shoot, Ian Trayner photographer, Yollanda Musa model"Pandora's Box" fantasy photo shoot, Ian Trayner photographer, Yollanda Musa model"Pandora's Box" fantasy photo shoot, Ian Trayner photographer, Yollanda Musa model

"Pandora's Box" fantasy photo shoot, Ian Trayner photographer, Yollanda Musa model

Darkness jumped out and time itself became a chaotic blur…

Photography methods

I used off camera flash with natural daylight. Shooting was a little tricky, because there was a bright sun and many small clouds, and the sun kept going behind the clouds.

When Yollanda was sitting on the tree trunk, the sun was behind her (at about 10’o’clock if the camera is at 6’o’clock) and she was illuminated from the right (her front) using a portable flash. This was a 600W battery powered head fitted with a soft box.

The green light shining out from the box was accomplished using two speedlights with green filters. I found that a single speedlight was not sufficient. I also took Yollanda as deep under the weeping willow tree as I could, so the ambient light was as low as possible. The important thing to know when you use coloured filters, is that the brighter the flash, the less it is coloured by the filter. (This is not intuitive until you think about it, then it makes perfect sense). So I used two speedlights, both set at minimum power output, triggered wirelessly using a radio transmitter.

As always when using flash, you are effectively superimposing two exposures in one image; one is the image that is recorded by the ambient light, and the other is the image recorded from the flash. One image. Two superimposed exposures to give a final net exposure. The flash exposure is dictated by the power from the flash and the aperture. The ambient exposure is dictated by the aperture and the shutter speed (both are also affected by the ISO obviously).

Shooting “Darkness”

In the story, when the character “Darkness”  jumps out of the box, I wanted a long exposure in order to show movement, but I also wanted the scene to appear darker overall. The camera was mounted on a tripod to keep it still, and the flash was set to “rear sync”. That means the flash fired at the end of the exposure, not at the beginning. We had to practice quite a bit to get it right, and technically it was quite challenging.

Firstly I had to find an exposure that was long enough to fit in all the action. The image here was exposed for 1.3 seconds! That gives Marcus (who played “Darkness”) enough time to be recorded at his starting position, and then move to his final position before the flash fires. In between he appears as a blur.

But it was a very bright day, so how was I going to avoid overexposing the image? The answer was to use an aperture of F22 plus a 3 stop ND (neutral density) filter. A 3 stop filter reduces the amount of light getting through by 3 stops, that is to say it blocks 7/8 of the light getting through.

So far so good. But could I get the flash bright enough to capture an image at F22 with a 3 stop filter? That is to say, the amount of light has to be sufficient for whatever is 3 stops brighter than F22! I just managed to get away with it, using two 600W flash heads, both fitted with small reflector dishes, and both as close to Marcus’s final position as I could get them. They are just out of shot to the right.

Poor old Marcus, not only did he have to do his leaping and grimacing until we got it right, he also had to look in the direction of 1200W of light flashing in his eyes! But he did an amazing job.

I also like the effect that a 1.3 second exposure has on the smoke, and it was this that suggested that time itself became blurred and chaotic with Darkness jumps out of the box, as stated in the storyline.

Akcnowledgements

Models: Yollanda Musa and Marcus Phoenix Godfrey
Make up: Shahida MUA
Styling: Akasha Asylum

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red deer stag in Richmond Park

“Oh Deer” (red deer in Richmond Park)

Photographing wild red deer in Richmond Park

A story of animal instincts

This is the season of the red deer rut, and Richmond Park echoes to the sound of stags bellowing, and the clash of antler against antler. I have become fascinated by the behaviour of the deer, which appears to be much more complex and subtle than the natural history programs on the telly would make it seem.

I am not a wildlife photographer, so my photographs of the red deer in Richmond Park are just taken as a hobby. Nevertheless, those of you who are familiar with my fashion photography will know I like to “tell a story” with my photographs. In this blog post I present a series of photographs that tell a true story from real life.

“Stag A”

The morning I took these photos, I came across “Stag A” on my way into the park. He had about 6 does with him, and I took several photos, mainly of the stag, because he was so strikingly handsome!

red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park _red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park red deer stag in Richmond Park

“Cheeky jackdaws”

I love the way the deer appear to be oblivious to the “cheeky” jackdaws that land on them, even on their faces! Sometimes the birds tug at the deers’ hair quite powerfully. I am not sure why they do that at this time of year, because this is not nest building season, so they can’t be after the hair for nesting.

After a while I walked on and had other encounters in the park. But later, as I am walking back towards home to get my breakfast, I pass Stag A with his does once more. A few yards further on, I find myself approaching “Stag B” who has three females with him. He is about 200 yards from Stag A, and as I approach, Stag B starts grunting and bellowing. I don’t know if my approach triggered his vocalisations, but I do get the impression that sometimes the approach of people will start them off on their displays.

“Stag B”

Here is Stag B with “his” three does, on my path;

red deer in Richmond Park red deer in Richmond Park red deer in Richmond Park red deer in Richmond Park

When Stag B starts his grunting and bellowing, it attracts the attention of Stag A, who is now behind me. In fact I am standing more or less in the middle between them.

So now Stag A starts bellowing from somewhere behind me, and these photos shows Stag B looking towards Stag A…

red deer in Richmond Park

red deer in Richmond Park

In fact Stag A is already on his way! He is not quite running, but he is moving swiftly, and in a very purposeful manner directly towards Stag B…

red deer in Richmond Park

Stag A passes close to me…

red deer in Richmond Park

Stag B watches as Stag A approaches…

red deer in Richmond Park

Then Stag B turns away and seems to be retreating. Or maybe not? The two stags face each other and walk side by side for a short while. Are they sizing each other up? Surely both stags must know each other quite well already, being neighbours?

red deer in Richmond Park red deer in Richmond Park red deer in Richmond Park

Then they go at it. I did not take any photographs of the fight because I could only see the very tops of their backs. When stags fight, they get their heads right down to the ground, and the fighting stags were almost completely hidden behind tall grass and a slight hillock. But as soon as they started fighting, the three does that were with Stag B, move fast and “purposefully” directly to join the does that were already with Stag A.

This was the most surprising part of it all to me; the way these does seemed to know exactly where to go, and the fact they went there without any hesitation. Here is a photo showing them moving at some speed. Note how their ears are pinned back as they listen to clash of antler against antler, as the two stags fight each other behind them.

red deer in Richmond Park

After a brief struggle, which couldn’t have lasted for more than 20 seconds or so, Stag A is victorious. He seems a bit “worked up” and does some more “triumphant bellowing” (Stag A is the one on the left)…

red deer in Richmond Park red deer in Richmond Park

Then he follows the three does, moving fast and with apparent “purpose”, he passes close by me. He looks to me like he “has something on his mind”. He passed very close to me, as you can see…

red deer in Richmond Park red deer in Richmond Park

To the victor, the spoils

The next bit I did not manage to photograph unfortunately because I was not looking in the right direction at the right time. But a few moment later when I looked back at Stag A, he was just getting off one of his “new does” whom he had just mounted.

red deer in Richmond Park

So there you have it; a tale of “animal intincts”, full of passion and excitement!

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bridal photo shoot with Amber Joseph

Bridal fashion shoot using natural light

What is a bridal fashion shoot?

A bridal fashion shoot is a photo shoot with a model wearing a bridal gown. The model here is Amber Joseph.

Can you do a bridal fashion shoot using only natural light?

Yes. Of course. But you need to use the available light to your advantage. It is necessary to see how the light is, and position the model accordingly.

I often use portable flash because it  (potentially) gives much more control and versatility over the lighting, and hence the images that are created. But it is extra weight to carry around, and takes time to set up.

To a limited extent natural light can be manipulated, for example by using a reflector. It is also faster working with natural light because you don’t have to position any flash heads, or measure their light output. If you are using natural light and working in “aperture priority”, it is easier and faster to change your aperture than if you are using manualy controlled (off camera) flash. So in a way it “seems” as if taking photogarphs using natural light is faster and easier. But is it faster and easier for taking really good photographs? creative photographs? and photographs that stand out from the crowd? Photos that make the eye linger?

In my opinion a good understanding of how the direction and “quality” of light affects photographs is just as important for natural light photography as for flash photography.

Our bridal fashion shoot

I took these photos on a workshop at Horsley Park, organised by Pete Bristo.  The model for this bridal fashion shoot was Amber Joseph. I have included a “fun” photo that shows that Amber is not only a beautiful model, but a “good sport” with a sense of humour.

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Adding a sense of movement

This image was created by merging two photographs together. I was not planning to do that when I took the photos, and was not using a tripod, so it was necessary to line the photos up and do a few minor adjustments to where things were!

bridal fashion shoot, natural light, Ian Trayner, photographer-in-surrey.net, Horsley Park

Acknowledgement

Model: Amber Joseph
Locations: Horsley Park

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Ian Trayner, Clarissa Holder, athletic photo shoot

Model portfolio photo shoot

Clarissa Holder is an agency-signed model, and she wanted to expand her portfolio. So I set up a model portfolio photo shoot for her.

What makes a good model portfolio?

A model portfolio should show variety, while remaining within the type of work the model wishes to do. The images should be of the highest standard possible. Our perception of how good a model is will be influenced by the quality of the images in her portfolio. And the quality of these images will depend on the skills of the photographer, and the creative team.

The creative team for this photo shoot

In my opinion, the quality of a creative team is crucially important if you want to create great images.  For this shoot, in addition to the photographer and the model, Donna Harris was the make up artist, and Evelyn Tolu (aka MissGoodliving) was the stylist.

Our remit

Our aim was to show the the beauty of the model’s face and body in a tasteful and artistic way. Although Clarissa has a very athletic body, we decided not to go all out to show that. This is because our aim was to create images that are useful for Clarissa’s portfolio, so we decided to take less specialized images. Of course it is impossible not to notice Clarissa’s athleticism, but it comes across more subtly – almost as a side product of the images.

In the time we had available, we set ourselves the following remit;

  1. To use a pale background to create simple images that show off Clarissa’s figure (ie “high key” photography)
  2. To use a dark background and coloured lights for something more unusual (ie “low key” photography)
  3. To take some classic beauty portraits
  4. To edit all the photos for colour and monochrome (black and white). This adds to variety and gives “more bang for your buck”. Of course the effects of the coloured lights are not visible in the monochrome images shown here (I may post them at a later date).

Donna gave Clarissa one “look” for the first two parts of the shoot, and she gave her a new make up look for the beauty shots.

Some images from the photo shoot

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Photography methods

Notice how my lighting has been designed to show the beauty of Clarissa’s face throughout.

An observant person may have noticed, looking at the image of Clarissa holding the hockey stick across her shoulders, that while she is brightest on the left side of the image, the background is brightest on the right side of the image. The effect of this is that she is brighter than the background on the left, and darker than the background on the right. Most people would not consciously notice this, although the effect adds something to the image at a subconscious level.

Would you like your own model portfolio photo shoot?

I enjoy bringing my creative fashion photography skills to the general public. Would you like your own model portfolio photo shoot? You do not have to be a model – everyone has the right to enjoy some creative photography. Imagine showing them to your granchildren one day; “Wow gran, you were really hot!”?

Or… maybe you know someone who would love to receive a creative “model portfolio photo shoot” as a gift? It is not just the experience, they will have the images “in perpetuity”. Photo shoots make excellent and unusual gifts.

“Beauty lighting”

For the penultimate image I wanted (1) beautiful lighting on Clarissa’s face, (2) a blurred but textured background, (3) a relatively shallow depth of field so that only her face is sharply in focus, and (4) a very soft light coming from behind and to the side. The purpose of this last light was to softly and subtely show the very beautiful lines of Clarissa’s cheek, jaw, neck, clavicle and shoulder.

For the final image, I wanted (1) beautiful lighting on Clarissa’s face, (2) a shallow depth of field to focus the viewer’s attention on Clarissa’s facial features, especially her eyes, and (3) I wanted to create a continuous dark curve down one side of Clarissa’s face and body, on the far side from the main light. For you to see this clearly I will have to show you the whole image (from which the image above has been cropped). To create this dark line all I had to do was prevent light from hitting her on this side. Just off camera to the right there is a black surface which blocks light coming from the right, and minimises the amount of light, coming from other directions, that is reflected back on to the model.

Please send me an e-mail if you would like to see coloured versions of these photos. You can find my e-mail address on the main part of my website.

model portfolio photo shoot, fashion photo shoot, fitness model, Clarissa Holder, Ian Trayner

The creative team for this model portfolio photo shoot

Model: Clarissa Holder, signed to ModelsPlus model agency
Make up: Donna Harris
Stylist: Evelyn Tolu (aka MissGoodlving)

The ladies will probably kill me for choosing this image to publish! But I think it shows what fun we had.

Donna Harris, Clarissa Holder, Evelyn Tolu, model portfolio photoshoot

 

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Rihanna-inspired photo shoot, part 2

Fashion photo shoot inspired by Rihanna

This photo shoot was inspired by a character that Rihanna plays in the film “Battleship“. She plays a small and very feminine “weapons officer”, who is totally at home in a very macho environment. Our “macho environment” is a large warehouse/factory that was originally used for building submarines! Although it is no longer used for that purpose.

Selected images from the photo shoot

I already shared some photos from the first part of this shoot (although I have just added some “behind the scenes” shots taken by Martin Brown to that post). Now I am sharing a few action shots, plus one more portrait of Yollanda’s face. This is because I want to show the quality of Viya La Belle’s make up.

When factory catches fire, Yollanda has to act, and act fast.

Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner, fashion photo shoot Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner, fashion photo shootRihanna-inspired photo shoot, Yollanda Musa, Ian Trayner, fashion photo shoot Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner, fashion photo shoot Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner, fashion photo shoot Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner, fashion photo shoot

Photography methods

In order to capture a sense of movement as Yollanda runs, I “dragged the shutter” and panned the camera to create the linearly blurred background. But I also wanted to see Yollanda clearly, so I added some rear sync flash, to freeze her action in the final instant of the exposure.

So, the resulting images of Yollanda running are in effect two images captured in the same exposure, and superimposed on each other. One is a slow exposure using ambient light, and the other is a frozen moment as the flash fires.

Acknowledgements

Model: Yollanda Musa
Make up: Viya La Belle
Photographer’s assistant: Martin Brown

Behind the scenes photos by Martin Brown

These “behind the scenes” photos were taken by Martin Brown, and I am very grateful to him for allowing me to share them with you.

Rihanna-inspired photo shoot, fashion photo shoot, Martin Brown, Ian Trayner, Yollanda Musa, Viya La Belle Rihanna-inspired photo shoot, fashion photo shoot, Martin Brown, Ian Trayner, Yollanda Musa, Viya La Belle Rihanna-inspired photo shoot, fashion photo shoot, Martin Brown, Ian Trayner, Yollanda Musa, Viya La Belle

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Ian Trayner, fashion shoot, release the Kraken

Fashion photo shoot “release the Kraken”

I want to share some images I captured at a recent fashion photo shoot. The shoot was organised by PortraitX, and it involved something like 4 make up artists, 12 models and 16 photographers!

Fashion photo shoot on the south coast

As you can see in my photos, we were blessed with good weather. It was a beautiful warm day, and the sky was a superb deep blue with variable cloud cover. Sometimes there were “very expressive” whispy clouds, which added to the images. A healthy wind was blowing, which was very pleasant because it was a hot day. However the wind played merry jingo with the models’ hair!

It was a superb day for me, and I came away with a healthy set of images. I will probably share more of them in future blog posts.

Selected photographs

One of my main aims was to capture an image of a mermaid being dragged from the sea in a net. The lovely Caitlin Barnes-Davis was the mermaid, and she was caught by “The God of the Sea”, played by Marcus Godfrey.

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Photography methods:

Fashion photo shoots organised by PortraitX are always an opportunity, and a challenge. A huge amount of organisation goes into these shoots, but once on location, it is up to the photographers to think on their feet. We may have some ideas up our sleeves, but we have to adapt to local conditions to put them into practice.

Using only natural light:

My photos of Marcus and Akasha (the Kraken) were taken using only natural light, and you can see how I used the sunlight to my advantage. Even in a beautiful setting like this, I believe the direction and quality of the light is the most important factor to consider. I used a polarising filter to increase colour saturation in general, and of the sky in particular. I also added a bit of “clarity” in post production to make the clouds stand out more.

Supplementing natural light with flash:

I added a touch of flash to the portraits of Caitlin and Isabella sitting on the rocks.  The sun is coming at them from behind, over their left shoulders, and I wanted to bring more light into their faces. But I also wanted to retain a fairly natural look, so I used a soft box, and I adjusted the brightness to give a gentle and natural effect.

I used a much “harder” flash, with a small reflector dish, to throw extra light on Caitlin when she was struggling in the fishing net. This is because she is the main feature in those photos, and I wanted to draw the eyes to Caitlin. As always, the direction of the light is critical. I also used Marcus’s arm and the line of the net to help draw the eye to the stricken mermaid. The sea and the distant rocks provide lines that draw the eye towards Caitlin, but I did have to be careful that the horizon didn’t go through her face any higher than it is.

In the close up photo of Caitlin struggling in the fishing net, I lengthened her canine teeth in post production. I also overlaid scales from a rainbow trout on her skin. It seems a shame to transform this beauty into a scaly demon-like creature, but “so it goes”!

Acknowledgements:

People who contributed to this set of images from this fashion photo shoot are;

Caitlin Barnes-Davis is our beautiful mermaid. Her make up was done by Samantha Beck. And the mermaid costume was made and supplied by Lunas Creations.

I have included a “behind the scenes” photo of Caitlin with Isabella Aurora Branco, who was cast as a baby mermaid. Isabella’s make up was done by Bryanna Angel Allen.

Akasha Asylum is the Kraken. The Kraken costume designed and made by Lunas Creations.

Marcus Godfrey is the “God of the Sea”.
His extremely impressive make up (or should that be “special effects”) were done by Katie Johnson.

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Ian Trayner, high key portrait photography

The enduring appeal of high key portrait photography

What is high key portrait photography?

The expression “high key photography” is actually ambiguous. It can mean that the entire photo has a bright, pale look. Or it can mean that the photo uses a pale background, or a bright white backround. It is the latter meaning that I am using here.

Why choose high key portrait photography?

  • Having a plain background helps emphasise the subject, because there is nothing else to distract the eye
  • High key photography is unlikely to “date”, even if the clothes in the picture do!
  • In general, hIgh key photos are “bright” and “cheerful”
  • You need a reasonably skilled photographer to take a good high key portrait. Most high key portraits will have been taken in a professional studio

Tech photo stuff

Why aren’t there any strong shadows on the background? Because the background is lit seperately from the subject, and will probably be lit a bit brighter.

If the light falling on the background is a lot brighter than the light falling on the subject, the background can itself become I light source. A photographer may, or may not, desire this effect. The amount of light that is thrown forward onto the  subject also depends on the distance between the subject and the background. There are lighting tutorials on the web if you want to learn how to do high key portrait photography.

How is it possible to show white clothes against a white background? Because the photographer has used precisely the correct exposure for the clothes. Most fabrics have an uneven texture that gives you variations in brightness. If the amount of light falling on the background is more than that landing on the clothes, the clothes will be slightly pale grey overall. However the eye will still perceive them to be white, because the mind “knows” they are white. Most photographers will use a light meter to measure how much light there is, and adjust it to suit.

Are there different “styles” of high key photography?

Yes indeed. This is a subject I may explore in a future blog post. But for now I will just say that I usually use a main light (falling on the subject) that is stronger than my fill light (falling on my subject). This allows me to use shadows to help show the three dimensional shape of the face.

Ian Trayner, high key portrait photography, family photography, photographer-in-surrey.netIan Trayner, high key portrait photography, family photography, photographer-in-surrey.net Ian Trayner, high key portrait photography, family photography, photographer-in-surrey.net Ian Trayner, high key portrait photography, family photography, photographer-in-surrey.net Ian Trayner, high key portrait photography, family photography, photographer-in-surrey.net Ian Trayner, high key portrait photography, family photography, photographer-in-surrey.net

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Rihanna, photo shoot, Yollanda Musa, Viya La Belle, Ian Trayner, fashion shoot

“Rihanna-inspired photo shoot”

Recently I had the pleasure of working on two fashion photo shoots with Yollanda Musa. This was really good luck for me, because not only is Yollanda an excellent model, but she was perfect for a “Rihanna-inspired photo shoot” that I have been planning.

Rihanna-inspired photo shoot

The aim was to shoot a petite, pretty, and very feminine young lady, totally “holding her own” in a macho environment. The location we used for the shoot was a factory/warehouse. Although the factory is very busy during the week, parts of it are very dirty and have a semi-derelict appearance. This made it a perfect location for our photo shoot.

Yollanda’s character was inpired by a role that Rihanna plays in a film called “Battleship“, in which the US Navy defeats alien invaders. Rihanna plays a weapons expert who is… petite, pretty, and very feminine. But she totally holds her own with the “big boys” in an extremely macho environment. Later in the shoot we have smoke and action!

Make up

Yollanda asked an excellent make up artist, Viya La Belle, if she wanted to work with us on our Rihanna-inspired photo shoot. And she did an excellent job. In due course I will upload more posts from this photo shoot, but In this first post I have included a “behind the scenes” photo of Viya La Belle making some adjustments to the make up. Please note that Yollanda is standing on a wooden palette in this photo, and that makes Viya look shorter than she is! In all fairness I should make it clear that Viya span most of her make up magic in a much nicer, cleaner, and more comfortable place!

I have also posted two close ups that show the quality of Viya’s make up.

Photography tech

In due course I will be uploading more posts about this photo shoot, which went extremely well. Later we used smoke and action! But in the meantime please enjoy these images.

I was using a mix of Nikon speedlights, and portable battery powered studio flash (made by Ilux). I triggered the flash heads using wireless radio transmitters. Lighting modifiers were mainly softboxes and small reflector dishes (approx 21cm diameter). The cool blue backgrounds were acheived by setting the camera to “tungsten white balance” and putting coloured gels over the flash heads, to make the light they emitted appear “white” to the camera.

Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner

Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner

Viya La Belle fine tuning her make up

Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner iantrayner_yollandamusa_rihanna-inspired__dsc3268Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner Rihanna-inspired photo shoot, Yollanda Musa, Ian Trayner

Acknowledgements

Model: Yollanda Musa (she is wearing her own clothes)
Make up: Viya La Belle
Assistants: Martin Brown and Steve Brown

Behind the scenes

These “behind the scenes” photos were taken by Martin Brown, and I am very grateful to him for allowing me to share them with you.

Martin Brown, Yollanda Musa, Ian Trayner, Viya La Belle, fashion photo shoot, RihannaMartin Brown, Yollanda Musa, Ian Trayner, Viya La Belle, fashion photo shoot, Rihanna Martin Brown, Yollanda Musa, Ian Trayner, Viya La Belle, fashion photo shoot, Rihanna Martin Brown, Yollanda Musa, Ian Trayner, Viya La Belle, fashion photo shoot, Rihanna

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