As we approach the beginning of Fashion II and the final stretch to graduation, I thought I'd post some of my favorite shots from the Mass Art location shoot. One thread I'd like to focus on is the use of flash in the foreground and available light in the background. This is going to be an important topic in Fashion II as we will be working outdoors with available light but will be manipulating it with diffusers, reflectors and fill flash. The issue is called "key shifting," meaning that when you either add or subtract light from the foreground the change in exposure will affect background brightness and thus shift its key. A number of you used this technique effectively at Mass Art to control background brightness.
This shot by Jen uses a slow shutter with flash to create some blur and drag on the foreground subject who is moving forward. That dark edge creates an interesting effect, separating the subject from the rest of the shot. However the flash necessitates a small aperture so there is a little more density in the background than I'd like to see as the construction activity out the window is a bit distracting. A slower shutter speed would also brighten the background. The other issue in this shot is the background models. They seem a little awkward. It appears that the designer may have been a little too cute for her own good with her direction. I saw the same thing with Malek's designer: really bad, overly theatrical direction. The models would look better not relating to each other at all instead of acting out some cheesy scenario. In any event, I love the idea here and would have liked to have seen it developed further.
In this shot by Ian he has nicely balanced foreground and background brightness so that the key of the background is slightly dark creating the illusion that the subjects are outside instead of standing in front of the window. By using flash in the foreground he has reduced background brightness. As the power of the flash increases the background will get darker. Notice the split/Rembrandt lighting on the center figure. This angle prevents reflections in the window. Nice overall job, Ian!
In this shot by Mattie the lighting is strictly available. This situation is like the high key variation we did in the studio to increase lens flare. The strong back lighting wraps around the form and blows out the background. In this case the buildings outside the window are distracting and are better left blown out.
In this shot by Zofeen the right balance between foreground and background is also struck. Though she is using flash in the foreground it's value is not particularly strong so the key of the background is relatively high. If the light were stronger, the lens would need to close down, thus making the background darker. Of course the other variable is shutter speed. As it slows the background will also get lighter.
These are the principles we'll be talking about in the coming weeks. Additive light (reflector or fill flash) will shift the key down and subtractive light (diffuser) will shift the key up. Speeding the shutter will shift the key down and slowing it will shift the key up.
Here are some more shots that I like.
I think this shot by Carly is just delightful. A very simple, elegant pose by the model. And the placement in front of the background is perfect! I see a color, pattern and texture connection with the top of the dress. The exposure is just a touch light which gives it an airy quality.
I think we're all in agreement that this one by Liz is fabulous! The placement of the arm in front of the face creates a shadow that perfectly frames the mouth, draws the eye to the scarf while adding an element of mystery. Now some (portrait photographers? Steve Ostrowski?) may have an issue with the open hand and wrist facing the viewer. Well, you know what I say to that. @&$#'em!
This is my favorite of Connell's because it's a wider frame, giving the shot a more graphic quality while incorporating the architecture. You really could have used some fill on some of these shots though I totally understand why you didn't. I did open up the shadow detail here. Nice job, nonetheless.
This is the one of Evan's that I really liked. Here the more neutral background allows the multi-colored skirt to come forward. In some of his other shots the graffiti in the background pulls the eye away from the dress. And for whatever reason, I've always been partial to this knock-kneed pose. It creates diagonal lines which better divide the space. It also works with the wistful expression.
And lastly, one more from Mattie. I love the cropping! It really focuses the eye on the fashion and the color. Another melodramatic scenario? Possibly, but what the hell. Sometimes you just get lucky!
So ends my first foray into blogging. Not bad? After a few false starts and expletives deleted I managed to figure this out. Moving forward, I'd like to utilize this forum more to complement what we're doing in class, to further our communication with one another and to expand our community. Whadaya say?
Don Cicci
