Monday, 27 September 2010

Unit 212 Photographing cars and flash

Here is a link to a quick video about photographing cars with flash, no technical stuff just fun to watch.... wait till the end for the results!

Ken Brown, who also took an awesome photo of a Mercedes 300SL using just two speedlights, has posted a YouTube video of himself shooting some spiffy cars.

He uses a single SB-24 speedlight, handheld in a softbox, and walks around each classic car popping the flash in a darkened room with the camera shutter left open.

Its hard to see what he is doing, because he is only visible during the flashes. But the payoff comes when he shows you the final photos. Amazing stuff this, especially for one small flash.

Turn all the lights off in garage or wherever you can fit your car. Bulb exposure. Grab a speedlight and a softbox, start at one end of the car, flash, take a couple steps over, flash, and repeat until you're at the end of the car. I found this does not work well if you're shooting the car completely horizontal. There will be inconsistencies in the exposure since your body will be blocking areas of the car when others are flashed. 3/4 front or rear angle works best and start from the point furthest from the camera. Give the front a flash or two as well. I find in the dark with the flash set to 1/2 power, I usually get about f11 give or take a stop.

Best to have a black background with a setting free of clutter. White and silver cars work the best. Red works to a degree. Black doesn't against a black bg. Maybe grey or white. I've done this to many cars and it works pretty well. Just make sure you have a nice clean background.

Friday, 24 September 2010

Unit 205 D1 Photo Imaging Equipment - Camera's and accessories

Camera and accessories

A bit about me....  and my cameras.
My first experiences of photos or more precisely cine-films were of my uncle‘s, family films and having to sit through hours of shaky, out of focus films at the family Christmas meetings, I think I was around 5 or 6 years old.
Then on my eleventh birthday my mother brought me a little Kodak brownie camera (which I still have to this day), the one using a 110 cartridge film and the flipflash bulbs. I set to taking pictures of everything and anything from my brother’s bike to my sister standing outside and a vase set on a window sill trying to make it look like she was small person standing on it.
Next up was a Praktica TL3 a 35mm SLR, I thought I this was the business, with a split screen focusing system, TTL metering and a Carl Ziess lens I found this very easy to use. Of course I knew nothing about any of the settings or what they did, I just experimented with everything learning as I went, It was very expensive learning curve as all my film when to Boots for development. Eventually after I learned how to take a reasonable photo, I brought a 200mm telephoto lens, some Cokin square filter kits, graduated filters, reds etc .etc. then it broke!, first it was the frame counter, then the nail in its coffin was the shutter defiantly staying firmly shut.
I lost interest after this; it wasn’t until something like ten years later with a young family and a fresh interest in photography ignited I started to take photographs again this time with a Sony Cyber-Shot DSC P50 2 megapixel digital format camera. 
The sky was the limit ... no film to process, I snapped away to Paula’s discontentment with many a cry of ‘not again or put that thing away’, I continued on unperturbed. When I came to the camera’s limits I purchased a wide and telephoto adaptor lenses. Getting a good picture and excellent colour reproduction I carried on with this camera for many years, perhaps longer than I should have. I eventually succumb to a new camera mainly because of this camera’s veracious appetite for AA batteries, and the fact that every time I went for ‘the shot’ the batteries would expire.
An Olympus FE230 was purchased mainly for its mega pixels and for its lithium battery life, I soon became bored with its limitations, no depth of field and a poor colour reproduction. I wanted more!
It looked like an SLR but it wasn’t it was a Fujifilm Finepix S5700 bridge camera; with a 10x zoom ratio I was getting good candid photos from farther away. It had good colour reproduction; seven mega pixels and very easy to use and a creative zone, shutter, aperture and manual settings. I was getting the bug again, I started going to a camera class trying to learn how to use the camera properly. The more I learnt or saw the possibilities the more prolific I became taking pictures at every opportunity, everything from the standard holiday shots on the beach to the 10.00 o’clock  stint looking for the sunset shot on a windy Welsh  sand dune with a borrowed tripod and micro shots of flowers etc.
I still wanted more the Fuji used AA batteries; I was scarred by the Sony and hungered for the supposed safety of the Lithium battery and the versatility of an SLR digital camera. I started looking at all the options; basic Vs pricey, good or better. I looked at the Canon 40D a cropped sensor with a magnesium body; it was good, Very good but was it £800 good. I looked at the Canon 450D it had all that the 40 had except 3 frames per second less and no magnesium body! But it was half the price I was sold, now all I had to do was to find out how to buy it and secondly how was I going to tell Paula!
Canon 450D
The EOS 450D is a digital SLR for those who want to go beyond snapshots. Compact and lightweight enough to carry wherever you go, it's purpose-built for creative photography. Features include 12.2 Megapixels, 3.5fps continuous shooting, wide-area 9-point AF system and a 3.0" LCD with Live View mode, plus the Integrated Cleaning System.
·    12.2 MP CMOS sensor
·    3.5fps
·    9-point wide-area AF
·    EOS Integrated Cleaning System
·    3-inch LCD with Live View mode
·    DIGIC III processor
·    Large, bright viewfinder
·    Total image control
·    Compact and lightweight
·    Compatible with EF/EF-S lenses and EX Speedlites
Canon 18mm -55mm f3.5-5.6 IS Kit lens                                                                                
In response to demands of photographers, this standard zoom lens is designed with Canon's Optical Image Stabilizer technology while retaining the compactness and lightness of previous models. Its stabilization allows sharp hand-held shots at shutter speeds up to four stops slower than otherwise possible. It consists of 11 elements in 9 groups and uses an Aspherical lens element to correct aberration for excellent image quality throughout the zoom range and a circular aperture for exquisite rendering of out-of-focus backgrounds. Without a lot of size, weight or cost, this lens expands picture-taking possibilities any time slow shutter speeds are needed.
·    Focal Length & Maximum Aperture: 18-55mm f/3.5-5.6
·    Lens Construction: 11 elements in 9 groups
·    Diagonal Angle of View: 74° 20' - 27° 50'
·    Focus Adjustment: AF (DC motor), with manual focus option
·    Closest Focusing Distance: 9.8 in./0.25m  
Sigma 18-200mm f/3.5-6.3 DC Lens (Canon AF)
This high zoom ratio lens is exclusively designed for digital SLR cameras and capable of covering a wide range of focal lengths from wide-angle to telephoto. Two Special Low Dispersion (SLD) glass elements and two hybrid aspherical lenses offer the utmost correction for all types of aberrations, and enables this extended range super zoom lens to be housed in a compact and lightweight construction of 70mm diameter, and 78.1mm in length, and weighing just 405g. The new lens coating reduces flare and ghost, which is a common problem of digital cameras and also creates an optimum colour balance. This lens has a minimum focusing distance of 45cm at all focal lengths and has maximum magnification of 1:4.4.

The lens design incorporates an inner focusing system, which prevents the front of the lens from rotating, making it particularly suitable for using circular polarizing filters and petal shaped lens hoods. The overall length of the lens does not change during focusing, ensuring convenient handling and ease of use. A zoom lock switch eliminates 'zoom creep' during transportation, a convenient addition when travelling.
·    Lens Construction: 15 Elements in 13 Groups
·    Angle of View: 69.3 - 7.1°
·    Number of Diaphragm Blades: 7 Blades
·    Minimum Aperture: F22
·    Minimum Focusing Distance: 45cm
·    Maximum Magnification: 1:4.4
·    Filter Size: Diameter 62mm
·    Lens Hood: Petal Hood
·    Dimensions: Diameter 70mm X Length 78.1mm
·    Weight: 405g
The Canon 5D Mark II
This is the camera I will be using for my images mainly because it's mine and has a large resolution and is a full frame, 21.1 megapixel Digital SLR featuring 3.9 fps continuous shooting, high ISO performance - up to an incredible 25600, 3.0-inch LCD with Live View and Full HD movie recording.
The Canon EF 24-105mm f4L IS USM Lens is a lightweight professional lens with Image Stabilizer plus dust and moisture resistant construction.

21.1 Megapixel full frame CMOS sensor.
For the ultimate in creative shooting, the 5D Mark II features a full frame CMOS sensor (36mm x 24mm). With no cropping or magnification effects, enjoy a true wide angle experience through the large, bright viewfinder. Redesigned pixels minimise noise, while a 21.1 Megapixel resolution surpasses the standards demanded by the leading picture agencies.

Canon’s DIGIC 4 works with the 5D Mark II’s image sensor to deliver outstanding reproduction of colours and subtle tonal gradations. DIGIC 4 also delivers split-second start-up times, Face Detection AF in Live View mode, and additional HD movie recording.

High ISO
For handheld shooting in low light, the 5D Mark II offers ISO speeds of up to 6400. For dark scenes where using flash is undesirable, this can be expanded to an incredible ISO 25600.

Full HD movie recording
The 5D Mark II complements outstanding still imaging capabilities with Full HD (1080) video recording. Users can even shoot video to memory card without losing the ability to capture still images. An HDMI connection allows High Definition playback of footage and images on an HDTV. 3.0-inch High Resolution LCD
The 3.0-inch Clear View LCD features 920,000 dot resolution, wide viewing angle and dual anti-reflective coatings – allowing ultra-detailed image review in a variety of conditions. Live View displays real-time images on the LCD, offering three types of auto focus: Quick AF, Live AF, and Face Detection Live AF, which locks onto faces detected in the frame.

Up to 3.9 frames per second
The 5D Mark II offers continuous shooting at 3.9 frames per second. When shooting JPEGs to a UDMA card, maximum burst is limited only by card capacity. 9-point AF + 6 Assist AF points
Precision auto focus is assured by Canon’s AF system, which employs 9 selectable points and 6 Assist AF points.

Integrated Cleaning System
Canon’s built-in dust prevention system offers three ways of guarding images against the effects of dust: reduction of internal dust generation; an in-camera sensor cleaning mechanism; and the ability to map stubborn dust spots for removal with Digital Photo Professional software (included). Durable, compact design
With a magnesium alloy construction, environmental protection and shutter durability of 150,000 releases, the 5D Mark II is equally suited to location or studio work.

Canon EF 24-105mm f4L IS USM Kit Lens
A professional lightweight standard zoom lens with fast auto focus, Image Stabilizer, dust and moisture resistant construction.

In the next installment..... My camera choices

Unit 205 D1 Photo Imaging Equipment - Film V Digital

Film V Digital - advantages and disavantages

Today Film has come to a ponit where it has become almost completely obsolete, the manufacture and development of film is almost none existant in real terms and those remaining have increase costs as the decline reduces demand. More and more people are switching over to digital as digital cameras, including hih end cameras reduce in cost. However, film had some advantages over digital photography that are perhaps not completely understood. I will try to explain the differences between film and digital photography.

With digital, we are used to thinking of digital images in terms of the number of pixels that they are in dimensions. For instance, a particular image that I produce for projected images at my local Camera Club would be 1024 x 765 pixels (the maximum size our projector can handle). This is because digital photography works by having specific color values for each of the pixels in a large shape. Note, however, that, at the end of the day, a digital picture is made of a collection of  pixels, each of which is square and made of exactly one color.

Film does not have pixellation, instead, the image includes shapes that copy the way in which the light hit the negative film. In other words, film is capable of including curves, a digital image will be a series of steps, blocks approximating a curve, while a photographic image allows for true curves. I'm not saying that a film image has higher resolution than a digital image; basically, the concept of pixellation doesn't apply. think fluid chemicals rather than regular building blocks, a mozaic almost.

Image Production
One of the interesting things about film is that the final picture is actually the result of two separate photochemical processes. First, the light affects the negative, imprinting an image. Then, the light is shone on the film paper, causing the final image. This has the odd effect that there are actually two places where film production can go wrong, there can be a problem with the original production on the negative, or the paper itself may age or decompose
This is an important issue for film restoration. When people restorer pictures they do not have access to a negative of the film or image, the image that they produce is the copy of a copy of a copy. However, when you have access to the original negatives, they will be able to produce a much higher quality restoration, as the negatives have the image of which the picture is only a picture. In other words a negative is the original data.

Digital photography, can go wrong  too again in two places. First, it can go wrong in the actual creation of the digital file, being corupeted. And the image will only ever have as high resolution as that original file, though it can ultimately be reduced. Secondly, it can go wrong in the printing of the file. Most people take high quality digital photographs and then print them off using a lower quality printer. As a result, the image quality is handicapped It's like getting a racing car and putting a mini engine in it you will never get the true potential out of it..

I will try to sumarise.... no tech babble the plain truth  bullet pointed!

  • Digital has lower noise or grain
  • Digital has better colour acuracy
  • Digital handles shadows better
  • Film handles highlights better
  • Film has better exposure and dynamic range
  • Film cameras are cheaper and less complicated
  • Digital image quatity and cost of capture are limited to the memory card capacity
  • Film is getting more expensive to develop and buy 

Basically it swings and round abouts everyone has their own opinion the debate will continue on .....

Wednesday, 22 September 2010

Unit 205 D1 Photo Imaging Equipment - Sensors


What it all about this sensor size? Does size really matter?

Well here it is..... this is basically it... The bigger the sensor the more light it gathers, more light equates to more information, more information means better quality of final image, the size of a camera sensor will have a big impact on the quality of your pictures. Larger sensors also preform better in low light situations as they produce less noise than smaller sensors.

Pixel density
One thing to keep in mind is that the size of each individual pixel is what will define the performances of the sensor. In other words, more pixels over the same area means that noise levels will increase, because each individual pixel will receive less light.

Compact Digital Camera Sensors
Most compact camera sensors are equivilent in size and they are measured diagonally, the most common sizes are 1/2.5 and 1/2.3 inches which by any standard is pretty small

Larger Compact Camera Sensors and Bridge Cameras
Manufacturers have started including larger sensors in some of their compacts. For instance, Canon's S90 has a 1/1.7 (0.58) inches sensor. This represents a total area 37% larger than most comparable models, and yields much better low light pictures. Compact cameras like the Panasonic LX5 also sport larger sensors.

DSLR Sensors
The sensor in a typical digital single lens reflex camera is many, many times larger than the sensors found in compacts. This means that DSLRs are much better at taking low-light pictures with low noise. But even in the DSLR world, there are differences between sensors.

The larger sensors are called “full-frame” and are found in some higher-end, professional bodies. The size of these sensors is equal to that of 35 mm film, with a 1.7 inches long diagonal.
The vast majority of DSLRs have sensors slightly smaller called APS, with a 1.18 inches diagonal (48% of the area of the full frame sensor). The use of the APS sensor allows smaller lenses to be designed while still preserving most of the optical performances of the sensor.
Another sensor size used in DSLRs is called Four Thirds (0.85 inches diagonal). This system, while being slightly less efficient in low light, makes possible the use of extremely small lenses. This sensor size is also used in the “micro Four Thirds” system, which is a bridge between compacts and DSLRs.

Medium Format Sensors
These cameras are still mostly of the film variety with sizes as decribed in my last entry on camera formats.If you are using a camera body with a maximum format capability of 6x7cm, then you will normally be able to use backs with film sizes 35mm, 35mm panoramic, 6x4.5cm, 6x6cm, up to 6x7cm. Digital wise there is also an increasing range of digital backs available. These allow you to maximise your investment in Medium Format equipment by adding digital capabilities. The first Medium Format cameras built for digital photography are now becoming available.

Types of Sensors
CMOS has become the current mainstream of chip design. It is capable of incorporating a great many additional functions right on the chip, including analog to digital conversion (ADC) and other aspects of image processing. Combined with the fact that more capabilities can be built right on to the chip, and the fact that the fabrication plants are used for chips found in many other contemporary silicon products, CMOS designs are much less expensive to build. In combination with the higher circuit density allowed by integrating more functions on the chip, you end of with lower costs and smaller ultimate size, an important factor when used in small cameras, such as those in cell phone, for example. CMOS sensors also use less power than do CCDs.

CCDs, though eclipsed long ago for use as memory devices, and needing additional off-chip processing circuitry, are still in use at the high end of image capture, including in all medium format digital backs. The reason for this is their superior image quality. They have the potential for greater light sensitivity, lower noise and higher dynamic range. This is not to say that there aren't CMOS cameras that are capable of very good, even excellent performance in these areas. But, one has to ask why companies like Phase One, Leaf, Hasselblad / Imacon, and various military and scientific applications prefer to use CCD chips, in spite of their higher costs, greater power needs and other drawbacks. The answer likely comes down to one thing – image quality.

Next installment... flim Vs digital

Unit 205 D1 Photo Imaging Equipment - Camera Formats

Photo Imaging Equipment & Materials
Camera and formats
It's essencial to have the right equipment for the job and there are a few things you should think about before spending your cash.. probably the biggest debate is whether to use film or digital?  I think realistically there is little choice now and it's digital every time, digital cameras offer more flexibility, and prevalence thank the film equivalent, I think if people are still using film now it's because for nostalgic reasons and not for sound reasons... most pro photographers have woken up to the reality and now use digital in all formats, Film cameras are now increasingly more difficult to source, the film itself is being steadily phased out and as a result of lack of demand getting more expensive, with fewer and fewer people developing film too.

To this end my equipment overview will be of a mainly digital bias with a bit of film thrown in to pacify the film stalwarts out there. the cameras basically do the same thing the images are just recorded on a different medium, when the shutter opens on a film camera the image is captured on a light sesitive film which then needs to be developed to see the image, in digital cameras instead of a film there is a sensor which captures the light falling onto it and concerts the information into a binary code and is stored onto a digital storage card, the image is then veiwed on a pc, image viewer or if avliable the screen on the back of the camera.

It's obvious different cameras do different things and there is no perfect camera, but some cameras will do a better job than others especially when it comes to quality and speed, unfortunately for most of us it always comes down to cost what you can afford at the time. I will only say this once.... always, always go that extra bit, yes it will stretch your budget but if you don't you will regret it and will end up getting the one you wanted in the first place.

Most cameras nowadays offer a lot of useful technology, but there are a few things that you should look out for. You need to have a reasonable pixel count to enable you to print to at least A4 size I would say a minimum of 10 megapixels, the next thing that's important is a good autofocus system along with manual focusing, good exposure system and a usable ISO range.

Digital Compacts
When you are first starting out most people buy a digital compact, the second thing they do is look for the biggest pixel count possible this is ok up to a point, digital compacts sacrifice quality and have minimal control options and most importantly a small sensor size. They are great for the point and shoot photographers, this is what I started off with and it wasn't a month gone before I was ready to bin it and upgrade.

This is a typical point and shoot compact camera, this is an Olympus FE230, I bought it mainly because of its Lithium batteries and it's 12 megapixel sensor, for it's type it was quite good, Built in flash, separate viewfinder, aluminium case zoom lens and very portable, the problem with was all the controls were in menus which were difficult and fiddly to use, their was no depth of field and poor colour reproduction, on the plus side the macro facility was excellent. It cost me about £119 and I kept it for 6 months the only reason I would have one of these type of camera now would for portability as a backup camera on a travel shoot.

Bridge Cameras
A bridge camera is exactly as it sounds, a bridge between a digital compact and a consumer DSLR. They have all the attributes of a digital compact but have larger sensors, they still have a built in lens and generally (not always) have the ability to shoot in a RAW format, there menus and controls are better and more accessible .
This was my next purchase, a Fuji film Finepix S5700 with a 10x zoom, all the controls were accessible via dials on the top of the camera. You had the option to use full auto or get creative with manual shutter, aperture setting. This camera was very easy to use, still quite compact, good colour reproduction, unfortunately it used AA batteries so it had to go, as it wasn't a bad camera I gave it to my sister who still has it to this day, still going strong

Consumer DSLR
Consumer DSLRs  are the most popular kind of camera for the amateur enthusiast. they have optical through the lens viewfinders allowing for more accurate composition and again larger sensors, the sensor sizes are a APC or cropped sensor which allows higher quality and resolutions, most are built to a good standard, the bodies are generally of a plastic shell which is better quality than the bridge types of cameras. all have the option of shooting in RAW, depending on what brand you have will depend on what RAW format you will have, they are all different. you have the option to change lens to suit you creative mood, every thing from wide angle to telephoto. they have built in flip up flashes of reasonable power, higher ISO ratings better, faster auto focusing systems. All the controls are readily available via buttons and dials on the external body.

This is the Canon EOS 450D, my next camera, the blurb says 'it's for those who want to go beyond snapshots' and for once it's right.

This camera has a 12 megapixel sensor, a 3.5 frames per second continuous shooting, live view mode,integrated cleaning system, a 9 point auto focus area.

Professional DSLR
Pro DSLRs are solidly built and withstand heavy usage their bodies are usually more robust with most now being magnesium alloy which is light but extreamly strong making them ideal for heavy use, they have better weather sealing against dust and rain ingress.they usually have more advanced auto focus and exposure systems, the resolution will generally be higher as a result of have a larger sensor. The cost of these camera are considerably more expensive as you might have guessed,
This is my latest camera a Canon 5D MKII this camera was the first camera to include full 1080 HD video.  the sensor is equivalent to a film 35mm  this is called full frame.

Here is the full specifications :
  • Resolution: 21.1Mp
  • Sensor size: 36x24mm full frame
  • Sensor type: CMOS
  • Image size: 5616x3744
  • Aspect ratio: 3:2
  • Focus system: TTL-CT-SIR
  • Focus points: 9 point AF plus 6 assist AF points
  • Crop factor: 1.0x
  • Lens mount: EF (excludes EF-S lenses)
  • File type: JPEG, RAW, sRAW1, sRAW2
  • Sensitivity: ISO100-6400 (expandable toISO50, ISO12,800 and ISO25,600)
  • Storage: Compactflash
  • Focus types: One-shot, AI servo, AI focus
  • Metering system: TTL full aperture
  • Metering types: Evaluative (selective AF point), Partial (approx 8% of centre), spot (approx 3.5% of centre), centre-weighted
  • Exposure compensation: /-2 EV in 1/2 or 1/3 step increments
  • Shutter speed: 30sec-1/8000sec
  • Frames per second: 3.9fps (max 78 images in JPEG or 310 with UDMA card, max 13 images in RAW)
  • Flash: Hotshoe for external EX speedlite
  • Flash metering: E-TTL auto flash
  • Flash sync speed: 1/200sec
  • Image stabilisation: Lens based
  • Integrated cleaning: EOS integrated cleaning system with fluorine coating
  • Live view: Yes, 100% coverage
  • Viewfinder: Optical, pentaprism type with approx 98% coverage
  • Monitor: 3in TFT LCD 920,000dot (307,000px)
  • Interface: USB 2.0
  • Power: LP-E6 Li-Ion battery
  • Size: 152x113.5x75mm
  • Weight: 810g
Other professional cameras to look out for are the Nikon D700 or the Sony A900 again both are full frame 35mm equivalents.

The benifits for using these cameras as apposed to the lower format cameras I think is self evident, larger sensor = better quality whilst still portable and easy to use hand held

Medium format cameras
Medium format cameras are often viewed as a big step up from 35mm format cameras. the are certainly intended for the serious photographer. The fact is that there is still something impressive about photographs taken on a medium format camera that smaller format cameras can't match.

It's all down to the size of the image they produce, a 35mm image size is 24x36mm whereas a 6x4.5cm medium format camera is 42x55.1mm about two and a half time bigger, this is where size really does matter and when a medium format images is blown up it will be less grainy and sharper higher quality.

There are different formats found on medium format cameras, the entry level size is 6x4.5cm which is the next size up from full frame DSLRs. They are cheaper, smaller and can still be hand held, easier to transport and use.

Models to look out for are the Bronica ETRS (as pictured) or the likes of the Mamiya 645E and the Hasselblad H1.... the list could go on....

The next step for medium format cameras is 6x6 format. This format is a square photograph, thisis something that is very different from 35mm formats and could take some getting used to! you can crop the photographs to a more familiar rectange, this format is a favourite with wedding and portrait photographers.

Models to look ot for are the Bronica SQ-B, the Hasselblad 501cm or the Rolleiflex 6001. These of coures are going to be more expensive that the 6x405cm cameras.

Next in line are the 6x7cm medium format camera. the image size and quality is a huge step up from a 35mm format and is four and a half time bigger and one anad a half times bigger thatn the 6x4.5cm format giving a definate advantage over the smaller formats. The downside of these cameras is that they are heavy and expensive, they are mostly confined to the studio because of their weight, but some landscape photographers do use them, I'm not sure if I would want be lugging them around though. te benifit to using these cameras are again obvious higher quality which equates to better sales

Models to look for in this range are the Mamiya RZ67 Pro II (see below) or the Pentax 67II
If you are looking to use this format it is advisable to buy as little as you need to start  before adding to the sysytem. The second hand market is good, but be careful as some models, as you would expect, have had a lot of hard work so you will need to look carefully for wear and tear.

In the next installment...... sensor sizes.

Monday, 20 September 2010

Previous L3 work

My last C&G level 3 work units 211 and 306 are counted as optional units to the Level 3 Diploma and this is what I will be working towards this year.

Here are my finished images from last years course:

Studio work first
and Product work next

Saturday, 18 September 2010

A New Beginning 'let the force be with be with you'

A new academic year a new beginning.......

this time I'm working towards the City and Guilds Level 3 Diploma the units I require to work on are units 205, 212 and 310. I have already completed three units from previous years which work towards this diploma these units were 306, 307 and 211.

I have been thinking of what brief I shall be working towards, I immediately thought of an editorial shoot of cars with models on location mainly because my main passion is portraits and this would include a theme to add interest. I then thought OMG how much work will this be... so then it was back to the drawing board and was thinking of macro studio working with still life advertising. I was in a quandary  because I'm a big believer that to really take a good picture with interest etc you have to be involved with the subject .... a passion for it. After a brief discussion with 'Mr Steve' the lecturer I didn't take much persuading  to revert back to my original idea of editorial cars and girl portraits,

such as:

So... what will I need.... 

As I working on a location shoot with a car and a model, I will need a car preferably a classic convertible, a model in period clothing and some where to shoot, then I will need a camera, my 5DMKII, some portable studio equipment, I have some speedlites flash, wireless triggers and soft boxes and I can borrow the college's studio equipment and battery units. 

How do I go about getting a car... well I was thinking about contacting a local classic car group to see if they are interested in using one of their car for a photo shoot.  I am in regular contact with various modes who may be willing to work with me, and I live in a location with plenty of woods, fields, tracks and plantations when there will plenty of photographic opportunities.

There are two sections that Steve wants me to work towards, one the cars side of things, the second is a fashion side. The car side of things is pretty straightforward, but the fashion will have to link in so I suppose it will be period fashion, I was thinking maybe 60s/ 70s, mini skirts and knee boots, suppose I could watch a few Austin Powers films to get an idea... now where is that video clip that Mr Steve likes so much?

Ah.... here it is...