Tag Archives: fashion photo shoot

commercial fashion photo shoot in Kingston upon Thames

Commercial fashion photo shoot in Kingston

Commercial fashion photo shoot for Mimi Florence Designs

Mimi Florence Designs is run by a gifted mother of three beautiful kids. She loves to crochet and make jewellery. Each item is custom made for the client. We set up a commercial fashion photo shoot to provide high quality images for her.

Personally I would describe designs from Mimi Florence as “extremely flattering for ladies who have lots of self confidence”. I mean particularly women who feel good about their bodies.

But look at my images from the photo shoot, and judge for yourself.

Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner

 

 

Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian TraynerCommercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner

Commercial fashion photo shoot for Mimi Florence Designs, photography by Ian TraynerCommercial fashion photo shoot for Mimi Florence Designs, photography by Ian Trayner

Technical info about setting up this commercial fashion photo shoot

Shooting high key in the studio

For the high key shots I used pretty standard high key lighting. I used two flash heads for lighting the white background, one on each side. These were each fitted with a tall slim softboxes. For the key light I used a 1m deep octaganol softbox with grid. I angled the key light with care so that it gave (a) flattering directional light on the models and (b) a good spread of light on the ground at their feet.

Yollanda’s hair obliged me to move the key light to the “less convenient” side of my studio, that is to say the right hand side, looking at the model from the camera. This side is less convenient solely because of the shape of my studio, and there is less room for putting lights on the right than on the left. If I had not done this, I would have been struggling with a shadow on Yollanda’s face from her hair (because her hair has a parting on her left, which is the right as you look at her from the camera).

Shooting outdoors using natural light

When we went outdoors I used only natural light. The location is the garden at the back of my photo studio in Kingston upon Thames. If you look at the very last photo, Michelle’s eyes are looking more or less in the direction of the sun, which was already quite low in the sky. Michelle is the model with slightly wavy hair, who is wearing the pink top. The models were sitting in dappled shade under a tree. Because sometimes the sun threw displeasing bright patches of light on the models, I had an assistant (actually it was Venus, the make up artist) hold up a semi-translucent screen between the sun and the models.

Also, because I needed more light coming onto the models from camera left, I had another assistant hold up a large white reflective screen (by large, I mean something like 6 feet by 4 feet). This threw just the right amount of light back onto the models faces. This combination gave a very pleasing natural light effect. Unless you were an experienced photographer, you probably wouldn’t notice that the ambient light had been “modified”.

The creative team behind this photo shoot

Photographer: Ian Trayner
Models: Yollanda Musa and Michelle Chaxs
Make up: Venus (search instagram for @_makeupby_vee_)
Designer: Mimi Florence Designs

flour photo shoot in Kingston upon Thames

Flour photo shoot in Kingston upon Thames

Why do a flour photo shoot outdoors?

Flour photo shoots make a LOT of mess! Originally I invited model and performance artist Katie Berns to do this photo shoot in my studio, which is in Kingston upon Thames. But after doing a bit of research I realised just how much mess it was going to make! So I changed my plan, and we did the flour photo shoot in the garden. This was very easy to arrange, because the studio opens directly onto the garden through some wide doors.

The day after we did this flour photo shoot, there was a lot of flour in the garden, and because it had got damp, it was sticking quite stubbornly to plants and other things. All my clothes pegs got flour stuck all over them. There are still signs of the flour now as I write these words, three months after we did the flour shoot.

What made this flour photo shoot so challenging?

What made this particular flour photo shoot really challenging was the extreme cold. We did the shoot in early March, and it was VERY cold by (South East) British standards. Although it was above freezing, it was only above freezing by a few degrees, and the air was damp. It felt extremely cold even to me, and I was fully dressed. Poor old Katie – I was seriously worried about her wellbeing. But she was extremely professional, and totally dedicated to capturing some stunning images.

It was also threatening to rain the whole evening, but fortunately the rain held off – all except a few small drops. If it had rained hard, we would have abandoned the flour part of the photo shoot. (We also did some ballet and dance photography in the studio, earlier in the day, before it got dark).

When Katie got too cold, she put on my thick fluffy dressing gown and headed indoors to warm up and stop shivering. She was very brave, and I was very impressed by her professionalism and fortitude. I have to add that she could have stopped at any time.

How to do a flour photo shoot

From a technical point of view a flour photo shoot is very straightforward. You don’t need a particularly high shutter speed. I was using 1/200s, so there aren’t any problems with syncing a studio flash.

As with any other photo shoot, the photographer will arrange the lighting according to the image you wish to create. The flour in flour photo shoots is usually lit from behind, against a dark background. But this is just a matter of taste. I think when the background is dark, or black, the contrast of the white flour against the dark background is extreme, so this tends to give dramatic images. My personal preference was to avoid putting a powerful light on my model from the front. I wanted to have sufficient light to see Katie, but I wanted most of the impact of the images to be from the light on the flour, and the rim lighting along the sides of Katie’s body – and through her hair.

When I was researching how to do a flour photo shoot, I discovered there are quite a lot of descriptions available on the web (now there’s a surprise!) I am not the first photographer to do flour shoots by a long chalk.  If you go online you can find images similar to these. However next time I intend to add a bit more photographic creativity!

Because I wanted a dark background, it made sense to do the flour photo shoot after dark. Next day my neighbour said he had wondered why there was so much lightening during the night, but no thunder!

Is it possible to hire me to do your very own flour photo shoot?

Absolutely. This would be a “standard photo shoot”, so visit this page to see my rates.

flour photo shoot in Kingston upon Thames, photography by Ian Trayner, model is Katie Berns

Flour photo shoot with Katie Berns performing amazingly in freezing cold and damp conditions

flour photo shoot in Kingston upon Thames, Surrey flour photo shoot in Kingston upon Thames, Surrey flour photo shoot in Kingston upon Thames, Surrey flour photo shoot in Kingston upon Thames, Surrey flour photo shoot in Kingston upon Thames, Surrey

 

Technical information

F8, ISO 400, 1/200s

I used three studio flash heads. It doesn’t matter which ones you use, but I had the luxury of using three Ilux 600 Summit heads. These are 600 Watt flash heads, and they are battery powered, so they are fully portable. I bought mine from Photomart, and rather annoyingly, they have come down a lot in price since I bought mine!

The flour was lit from both sides behind Katie. This had the effect of putting bright lighting on the flour,  and they also cast a beautiful rim light on Katie Berns’s body. The modifiers on these lights probably aren’t critical, as long as you can control the spread of light. I was lucky because I could use a tall thin soft box with grid on both sides.

I also had a fill light in front of Katie, near the camera. I don’t remember the ratio of the fill light to the rear lights, but the rear lights were significantly brighter than the fill light. In a situation like this, I would recommend experimenting with the lighting ratios to see what pleases you most.

My recommendations if you want to do your own flour photo shoot

  1. Do it outdoors if you possibly can! If you have to do it indoors, be aware that you will have a fine dust of flour covering everything, and a thick pile of flour on the floor. And be aware that flour gets very sticky when it gets damp, so I recommend cleaning it up as soon as possible after the shoot!
  2. Think about the set. Do you want it dark? Will it be necessary to do the shoot after dark? If you are not sure, test it. Although we did this shoot after dark, I don’t think that will be necessary if you have some powerful flash heads. It may even be possible to make use of the sun, if there is direct sunlight (best from behind the model I think).
  3. Have a look at flour photos on the web, and then try to add your own thing. For example I found this youtube video quite interesting;
    https://www.youtube.com/watch?v=AcSZaPXHSJ0
  4. Avoid throwing flour directly into your model’s face! Check that she (or he) doesn’t have any reactions to dust, or flour. Don’t let your model freeze to death if you are working outdoors. Ho ho.
"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

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

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

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

 

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

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.

fashion photo shoot, PortraitX, Ian Traynerfashion photo shoot, PortraitX, Ian Trayner fashion photo shoot, PortraitX, Ian Trayner fashion photo shoot, PortraitX, Ian Traynerfashion photo shoot, PortraitX, Ian Traynerfashion photo shoot, PortraitX, Ian Traynerfashion photo shoot, PortraitX, Ian Trayner

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.

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

“Rihanna-inspired photo 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.

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 by Viya La Belle

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 methods

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