{"id":9585,"date":"2011-12-03T23:43:28","date_gmt":"2011-12-04T03:43:28","guid":{"rendered":"https:\/\/neilvn.com\/tangents\/?p=9585"},"modified":"2018-05-06T19:11:50","modified_gmt":"2018-05-06T23:11:50","slug":"photography-composition-finding-the-other-angles","status":"publish","type":"post","link":"https:\/\/neilvn.com\/tangents\/photography-composition-finding-the-other-angles\/","title":{"rendered":"Photography composition – Finding the other angles"},"content":{"rendered":"

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Photography composition – Finding the other angles<\/h1>\n

At the same photo shoot-out that the stunning\u00a0Film Noir Fight Scene<\/a>\u00a0came out of, I again worked with a model, Jill. Her hairstyle and dress were strongly reminiscent of the flapper<\/a> era. Therefore a more dramatic and sexy pose and styling was suited. And of course, dramatic lighting. For off-the-cuff \/ on-the-fly dramatic lighting,\u00a0a\u00a0video light<\/a> is hard to beat.<\/p>\n

The photo at the top is the angle that my friend Peter Salo found, while I was standing on a short ledge, shooting from above. The irony here is that the first time Peter and I met, was at another photo shoot-out, and I was insistent he find a different angle than just shooting from eye-height. I even pushed him down on the ground to convince him. And here we are, a few years later, with him finding the alternate angle that I didn’t immediately see. \u00a0Using the 85mm f1.4 lens wide open, gave that shallow depth-of-field.<\/p>\n


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This second image (the wide angle shot from above) is the photograph that was easy to envision. The pattern of the tiles in the lobby immediately drew my attention as a possible idea. In the final image, the way the tile pattern recedes helps draw your eye to our model, helped by the spot-light effect of the video light.<\/p>\n

Details for 1st image:<\/strong>
\n<\/em>1\/500 @ f1.4 @ 1600 ISO
\nNikon D3S; \u00a0Nikon AF-S 85mm f\/1.4G<\/a><\/p>\n

Details for 2nd image:<\/strong>
\n1\/80 @ f5 @ 1600 ISO
\nNikon D3S; \u00a0Nikon 24-70mm f2.8G AF-S<\/a><\/p>\n

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Lighting & Design for Portrait Photography<\/h2>\n

Lighting & Design<\/strong><\/a>\u00a0is a\u00a0follow-up of sorts to Direction & Quality of Light<\/a>.\u00a0It\u2019s a slightly eclectic mix, discussing the thought-process with various scenarios shooting portraits. The examples use available light, bounce flash, off-camera flash as well as studio lighting.<\/p>\n

The idea is that in every one of the 60 sections, there is something to be learnt and applied, regardless of your level as a photographer or where you shoot\u00a0– all\u00a0shaped to form a cohesive narrative arc throughout the book.<\/p>\n

You can either purchase a copy via\u00a0Amazon USA<\/strong><\/a>\u00a0or Amazon UK<\/a><\/strong>. The book\u00a0will\u00a0also available on the Apple iBook Store, and Amazon Kindle.<\/p>\n\t\t\t\t<\/div>

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Both images here were lit with\u00a0the\u00a0Lowel ID-Light<\/a><\/strong>\u00a0(B&H<\/a> \/ \u00a0Amazon<\/a><\/em>), held aloft by someone else. The position of the light should be discernible by how the light falls on her, and how the shadow pattern falls under her nose<\/a>.<\/p>\n

Knowing the theme of this photo shoot was Film Noir, I didn’t use flash at all, but decided on only using the video light. Since I knew I might want something stronger than my usual LED video light, I decided on the more flexible and powerful Lowel ID-light<\/a>\u00a0(affiliate<\/em>).<\/p>\n