Monday, September 7, 2009

Movie lights for a still photography shoot? UH HUH!



When lighting a still photography set the standard practice is to use strobe still lights. These are basically high powered flashes that when tripped spread light, sometimes in a controlled fashion, sometimes not. You might notice many photographers use these type of lights with umbrellas or softboxes that will "soften" the light. Additionally, some lights photographers use are called monolights while some are power pack driven with light heads.

Monolights allow you to control each light by itself but require a separate power source, while the power packs allow to control the lights (heads) from the pack. Both have their merits and provide nice light. I use Bowens monolighs when I use this type of set up. If you're on a budget try some lights from Alien Bees. I have many colleagues that use Alien Bees and have nothing but good things to say about the company, their excellent service and they're made right here in the U S of A. In many situations, such as to stop action, a strobe is your perfect solution. But we're here to discuss another type of lighting set up. Movie lights.

Before working as a full time still shooter I worked in the film, television and commercial tv industry. I worked in a variety of roles. Everything from..."hey Chuck get me a coffee" to "Chuck..grab me an Elvis, a Kino and a c-stand."  I worked as a production assistant, an art department assistant, a camera assistant, a grip and even a jib assistant. What was great about this experience I had the opportunity to work with some talented directors of photography and lighting directors. Lighting up a movie set so it sets a mood is quite a skill set, that requires intimate knowledge of light or in some cases lack of light to tell a story.  This is where movie lights can really..err...pardon...SHINE on a still set.

The  photos above are from a student lifestyle shoot for the University of Kansas. When selling a school, things like students hanging out, having fun and enjoying themselves in a pleasant atmosphere is a highly desirable sales tool.

Inside the ground floor of a dorm on campus you can find a great student hang out place, it's modern, it has cool furniture, a neat floor...it's trendy and hip.  To set this as an  after hours chill spot I wanted to establish this place as a late night hang out.  So, I wanted a cool moonlight effect, that would show moonlight streaking thru some windows inside on the students.

Outside we put  two 1200 watt Cinepars on high stands shooting thru the windows. To make the light look interesting we took some large sheets of foam core and cut out various shapes and patterns and taped the foam core to the windows.  Instead of just blasting a large light source thru a window it's always more interesting to establish some type of pattern. To make a "tree branch" effect many times a an actual tree branch is found and put in front of the light to bring inside the outside world. This time I just wanted some neat looking random patterns.

Since lights like this require a good clean power source we had a Honda generator outside powering the Cinepar lights.

What about the inside lights?

After establishing the outside world coming inside  I also needed to place some nice lights in the room that would make the set look interesting and set a mood. If you look closely on the left side of the photo you will notice there are these  panels that basically separate the room. They are made of this cloudy plexi material with a great pattern and it makes for an ideal diffuser for some lights. Notice these panels are lit. To get this effect I place four  4Bank Kino Flo lights on stands behind the plexi. This gave just enough ambient light to soften the room. The rest of the light in the room was available sources already wired in the building.

Camera questions on this: I used my trusty Olympus E-3 on a tripod and both the 14-35 f2 and the 35-100 f2 zooms. Various shutter speeds, ISO's and apertures were used during the shoot.

So basically, if you have time and the budget you can get a "movie like" set atmosphere while still using your still camera.  Even with a small budget you can achieve the same type of look with lesser lights you can purchase from Home Depot..but that's another discussion. Until then...have fun and have a good shoot!


Any questions feel free to email:

chuckfranceis@gmail.com

Or find me at these places:

www.chuckfrancephoto.com
www.facebook.com/chuck.france
www.twitter.com/chuckfrance

Friday, August 28, 2009

Bright sun? Flash'em!




When I'm out shooting on a job more often than not I get somebody walking by giving my that "what in the world are you doing" gaze. That or my subject I'm shooting looks at me like from another planet and then asks, "Why are you using flash in the middle of this nice bright sunny day?"

A flash can be a great little lighting tool in your bag or even if you just have a pop up kind on your camera..it helps. If the sun is blazing down casting odd shadows on your subject you want to use a flash to fill in the gaps. You also can get some pretty neat effects from the sky by just stopping down (high aperture) and a low ISO (film speed back in the day) and turn a bright sky moody and dark. Moreover, maybe you want a more moody setting but need to cast some light on your subject but want the background to look dramatic...use a flash.

The first example of the single soccer player from The University of Kansas was shot at 3:31 in the afternoon with a bright blue sky. What was needed was a dramatic type of shot for this player. So some controlled flash on her with some shadows was just the trick. For all you techie types the settings were f/13 ISO 100 and 1/250th on the shutter. I used my camera's pop up flash as a wireless controller and triggered a flash that was on a light stand.

The second shot was a happy group shot. Our main soccer player is deaf and has been featured by ESPN, she has made national news and such. We had the other team players do the deaf sign for applause while Emily was in the front with that big smile.   Shot at 3:42..eleven minutes later. That nice blue sky is what we had all day...along with some bright sunshine. Once again techie types this one was shot at  f/8 ISO 100 at 1/250th on the shutter. Same pop up flash doing the wireless thing with one single flash on a stand.

A little light and few tweaks with the aperture during the day will provide you with some dramatic type of stuff.

You don't need a fancy off camera flash to do the same thing. Your pop-up, although not powerful can fill your subjects face...light a flower...make an interesting effect also.  So shooting on a bright sunny day...FLASH'EM!  :-)

Have a great weekend!

Any questions feel free to email:

chuckfranceis@gmail.com

Or find me at these places:

www.chuckfrancephoto.com
www.facebook.com/chuck.france
www.twitter.com/chuckfrance

Tuesday, August 25, 2009

So...you wanna shoot concerts

So I get ask a lot...How do you shoot concerts? How come mine always come out blurry...out of focus...how do you get the good location..etc.


For the most part there is a formula on how to shoot a concert. This is all thrown out the window if you have a nice high ISO camera that (no brands names here!) can shoot cleanly above 800. If so enjoy shooting clean at ISO 6400! You lucky bastard you!


This formula is courtesy of a buddy of mine, Doug Reed. He was the house shooter for the University of Denver and has shot a ton of concerts. So props where props go...thanks Doug! If you want great video/film and still stuff click on over to Doug's GoodEyeMedia.com.


The formula is as follows.


First, you need some fast glass on your rig. So, basically anything 2.8 or faster and it doesn't matter what glass, just fast glass. I'm a big fan of Olympus gear so if you are an Olympus shooter or looking to switch...try this piece of glass.


Second and this is an important one, set the metering on your DSLR to SPOT meter, not evaluative metering. This will give you an accurate reading on the subject not the overall scene.


Third, get to know your focus points on your camera and specifically focus with one point and go for say an eye or just a face. You can either do the re-compose thing by holding composing then holding the shutter button down half way then re-composing or make life hard like me. I change my focus points on the fly as I shoot. I know NOT a good practice but I'm self taught so there you have it. It works for me.

Fourth, get a BIG card from a place like this one. More than likely if you are shooting a big artist you will get about three songs to get something good. In some cases it will be less. So shoot a bunch and shoot often.


Fifth, try to get the shutter at 125th or even lower but frame the shot to work the performers head and shoulders.


If the light is good such as the shot of C.C. Deville of Poison: you can get away with lower ISO, slower lens, faster shutter, etc.


If the light is poor, the venue is dark and dim the lights are colored and on auto timers you get something workable like Sonic Youth, BUT it takes a bunch of post to clean it up.


As for location: It's all if you get the press pass or not. Most venues will not allow pro cameras and if they do you need to be close to get something that give you a shot at getting something good. If you are lucky enough to get a pass and are working next to other photogs just remember a couple of things. We're all there to get the same thing..just for a different client. So be respectful of the other shooters. Don't stay in one spot to long if you have a great location....share the wealth. Know who is around you at all times. The last thing you want to do is back into a 70-200 with your noggin. PLAY BY THE HOUSE RULES. Whatever the artists management wants..no matter how crazy it seems....just roll with it.


Any questions feel free to email me: chuckfranceis@gmail.com

Wednesday, August 5, 2009

A random note for my first blog


Ok people since this is my first official blog entry. Let's just start with a quick howdy to everyone...howdy everyone!

I'm a freelance photographer based in Kansas, USA doing mainly photojournalism with some corp., magazine and editorial work. I'm a member of the the National Press Photographers Association, The Committee to Protect Journalists and the Olympus Global Professional Services program.

What you will more than likely find here in the future will be various ramblings, chest thumpings, soap box positioning and maybe even some helpful hints and tips with all things photography including, shooting, job prep, post processing, client hand holding, career tips and the state of the industry.

Places to find me:

Twitter: http://twitter.com/chuckfrance
Facebook: http://www.facebook.com/chuck.france
Web site: www.chuckfrancephoto.com

So for now.......hi all...cya soon!

Chuck