Heading light
540 creative works found
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having given myself the afternoon to spend with redbubble I’ve decided to post a wildcard image into the fashion competion. Originally shot on velvia in available light and if you look really closely the model has a camera in her crotch. :) / This is a companion image to “Bloom” these look really good framed. hint hint :)
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waiting by candle light / i sit and wait / for something to arrive not sure when / or how / but i know / i’ll feel / alive shawdowed pools of darkness / round about me lay / stoic in their vigil / of keeping fools at bay mean time in the quiet / when whispers seem a shout / i’ll breathe in / the void around me / and let the demons out waiting / by butchart Thanks b! more stories here
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Model/MUA/Concept/Styling etc. – Atrophy Gloria Swanson is alive and well and living in Melbourne, it seems. Canon 40D + 50mm 1.4 + overcast daylight = Silver Screen Fun. Copyright 2008 Harmony Nicholas
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Morning Light World English Bible / Yahweh make his face to shine on you, and be gracious to you. From the ‘Connection Series’, this is a pencil drawing, coloured with aquacolour crayons on paper… i have played around with this quite a bit in photoshop also, applying layers and more colour to enrich the overall look When i ponder this, it gives me a feeling of hope, like after the mourning, there is morning and the sun comes out again….. It’s all about our connection with nature and other lofty things :)
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I’m not the monkey’s uncle. Are you?
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o-ya you know…
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Other freak show image / The Sisters Side Show: Model: AttempteStock / Textures: darkrose42-stock amptone-stock and nighty-stock / Candle (my reserve image) The rest was heavy brush work.
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Model/MUA: Meluxine I know I’ve been horribly slack with updating this gallery, but I’m back. / Aaaaand I’m selling prints, but not through RB – you can’t sign them or anything. / Mail me privately if you’re interested in purchasing my work. Copyright 2009 Harmony Nicholas
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Taken a few miles east of Leicester, near Allexton. Its that time in the UK, just before the wheat gets harvested – heavy heads beginning to nod gently under the weight of the grain, and the weather unable to decide whether it is summer or not, threatening to flatten the crop, just it is ready. Leicestershire is full of distant horizons like this, and the Barley is all but in now, much of the ground already having been put under the plough in readiness for the next crop.
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Lighting The Head Shot
by John Hooton“If God had intended photographers to use more than one key light, he would have made more suns.” Just about every single shot includi…
“If God had intended photographers to use more than one key light, he would have made more suns.” Just about every single shot including the food and still life shots in my portfolio was made with one light. One light in the right place. You won’t need any more except possibly to light a background. In this case make sure that they light the background, and do not spill back on to the subject. Use barn doors or large black sheets of card if necessary. Very early in my career I learnt that light bounces around all over the place in a white studio. This is unwanted light. When I worked for top food photographers and fashion photographers like Barry Lategan, we actually blacked out the studio with drapes or black screens. Great for glassware too. I ordered funeral drapes to cover an entire studio when I was asked to light a “Finish” (the dishwasher stuff) TV commercial in Milan. The essential shot was of a glass. How do you get a glass to look sparkling clean? Answer, outline it in black, make it totally transparent and have one clean reflection of light on it. How do you do that? Black out the studio; this creates the black edges which are the walls reflecting in the edges of the glass. Use one ‘window’ type light. In this instance I used a 6×4 sheet of opaque white Perspex and stuck some halogen floods behind it. Result – one clean reflection of soft light, no glass to be seen, just the black outline of one. It looks as clean as a whistle because the glass is invisible! The actor doing the demo in the commercial looked good too, with a similar lighting quality to that in my stills. The cameramen were two old hacks from Rome who scoffed in bemused wonderment at this 22 year old kid who had made the studio look set for a funeral. The drapes were all that the three funeral companies could provide. However, the results were crystal, the client was thrilled, I was a hero for a day, and I got more work from the production company who shot the ad. This lighting style was often copied after that, and is still the basis of many British commercials today. So where were we? Yes one light. One light in the right place. At John Cowan’s studio, I persuaded John to have the entire walls of the studio painted black to which he agreed. Why black? So that the light does not bounce all over the room filling in shadows where you want shadows. To start with black and then paint with light gives you much more control over your lighting. It makes you the master of it. It gives you the contrast you want without having to print on grade 4 paper, thus allowing more detail in mid tones. I painted my studio in Milan black, and would do the same today. It gives you a quality that is sharp and precise. OK so where does the One Light go? More or less above your own head and slightly above the subject. This will slim the face by putting the cheekbones in shadow if the model is facing you head on. Take a look at the head shots in my portfolio and look where the shadows are. Then figure out where the light is. Above the camera, maybe slightly to one side. This should be the side the model faces if the shot is three quarters on or the shoulders are three quarters on. When you have set up, always use a tripod to establish your camera position and then adjust the light until it is exactly where you want it. Don’t run around the model with your camera in hand. It may look good in the movies, but it will look crap in your contacts, with no consistent lighting whatsoever. Just one more thing, what sort of light you may ask? The light should be intense but soft, so a single umbrella is fine, a soft box is fine, and a bowl light is excellent. This is where the flash head is reflected into a shallow bowl and the head is shielded. If the bowl is then opaqued by a thin sheet of plastic, you will get the same quality as some of the Vogue photographers. It is a very flattering light. You can tell when it has been used by top photographers. You will see the circular highlight with a black center reflected in the model’s eyes. OK folks so that’s how I light head shots (and many of the top guys I have assisted). Give it a whirl and see if you can take some shots that stun you, the girl you are shooting, and the horse I rode in on. ‘til next time – John
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More from the Lightscapes Set More from the Black and White Set Two young cows playing around in the afternoon with magical back lighting. This is one of the first photos taken on my first d-slr!
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Yaquina Head Lighthouse waiting in the gathering fog as the sun sets over Cobble Beach in Oregon. One Light handing the job of illumination off to another.
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Model – Mishkamink Regina Corvidae – a rare and gifted species, showing specific tendancies towards makeup, fashion and nocturnal behaviour. And Nick Cave. Copyright 2008 Harmony Nicholas
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At the moment my artistic vision / focus is on black & white and I’m only interested in the act of painting – that’s the main thing. / The paintings, the things are a bonus ! Just wanting to share with RB friends….many thanks for stopping by ! Acrylic painting on paper, size 50 cm / 70 cm.
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For MERGE Magazine, May ‘09 Issue [out now]. Editorial [Fashion] supplement using PROOF Cosmetics. Proof Website Concept/Styling/Hair/MUA/Art Direction: Stephanie Mountzouris / Photography/Editing: Moi Models [L-R]: Rose, Jackie, Bianca, Annalisa, Jessie & Moira MERGE website / MERGE on MySpace / MERGE on Facebook Copyright 2009 Harmony Nicholas & MERGE Magazine btw the shot got shrunk by RB so if you want to see a larger version check it out here
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This is another case of right place right time. I normally check the tides to see where they will be at sunrise and sunset, but as my fiance and I were staying near Geelong for a few days, I didn’t bring a tide chart with me and so I had to take guesses as to where it would likely be. Anyway, at the last minute I decided to head down to Point Lonsdale to take a few shots of the lighthouse and to my delight the tide was out and slowly creeping in. By the time I finished shooting, I was walking through water to get back to the shore.
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For more products, you can visit my ZAZZLE gallery:
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The warm glow of the setting sun is reflected on the landward side of the Point Lonsdale lighthouse, on a cold, windy Winter’s afternoon. Two different shots of the same lighthouse at either ends of the day.
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Model: Kumi aka Kumimonster / MUA: xmishka / Studio: Brent Leideritz Inspired by the paintings of Rene Magritte and the writings of John Lennon. Alternate title: ‘Head in the Clouds’ / - NOTE: If you’re in Adelaide this Friday [22nd] come along to Gallery 139 on Magill Road from 6-8pm to see this image in the opening of an exhibition of works featuring the human skull, in conjunction with the Australian Cranio-Maxillo Facial Foundation. It will be on show til June 1st. 20% of the proceeds from sales of the works will be going to the foundation. / Plus, it has a piece by Damien Hirst in it. / Yes, I am in an exhibition with one of my idols. Eep :O Copyright 2009 Harmony Nicholas
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