A few months to a few friends and I did a test shoot, rebuilding a vintage Hollywood portraits. While a number of features of the shoot, I would like to share some general thoughts about the shot approach to this as a test. Each photographer has his own way of doing things, but here are a few things that have worked well for me.
Colaboration
It all starts with an idea and grows from there. I had a new beauty dish for testing and my friend Kelly (a talented photographer and stylist) and I were looking for a project to work. For me, reminiscent of a beauty dish pictures from the 40s, a time before softboxes and flash units. A vintage portrait seemed a perfect application and an opportunity to try and connect with the work of artists such as George Hurrell portrait.
Some photographers want to manage every detail of a shooting, but I really trust and love with others. Plus, I know where my strengths and weaknesses. Kelly had a friend who she felt would be the perfect look and they took the responsibility for drawing up the clothes. We knew from the beginning that its styling would be important to subtract the gaze, so Kelly offered his help in the search, as a hairdresser. I would rate my energy into studying the technical optics and lighting of the era.
After years in business I have the relationships with other creative people sometimes are interested in working together on projects like this. you do not have such a relationship, you say? Well, if you know anyone with an interest or a hobby that pays to photograph a view to know why not ask if they are interested in working order? Nothing ventured, nothing gained.
The most important thing to test for me is that, well, it is testing. A chance to try some new things and experiment. That was always my primary objective, the value of experiments. Yes, in the hope that at least one good picture, but more importantly, I see it as an opportunity to test equipment and / or ideas in a non-pressure situation. Something like a dress rehearsal for a play.
The research
An online search and a trip to the library itself to a series of vintage Hollywood portraits for the study. A closer, objective look at the pictures showed a few surprises. This is a fairly normal part of the process for me. You see, I had an image in my head of what looked like a vintage portrait, and it was pretty much in general. But the camera angles, in particular lower than I thought. Within sight of the camera is not as widespread as I had in mind. Research pays off.
Study reinforces the depth of the field was usually in shallow vintage images as large-format cameras have been used. High contrast was the order of the day, because the picture of the available materials and “blow out” details in the skin. And, of course, airbrush has been used extensively to remove stains. I printed a few pictures, such as technical and memories they could on hand as references to the filming.
Time to shoot
With each collected, is the cooperation to life. Carmen, our talent has been the perfect role and her styling was spot on.
Kelly rounded up a few different options for clothing, so that we could work together to make the final decisions. After the options is important in case something to shoot better than any other choice. Patterns can not think as good as work, certain substances, a moire pattern or difficult a particular cut of the substance would not produce behave in the desired form. It is good to have choices. more at [via]
