Source (Google.com.pk)
Fashion Photography Blogs Biography
Founder/blogger/photographer Scott Schuman began The Sartorialist with the idea of creating a two-way dialogue about the world of fashion and its relationship to daily life.
In addition to the blog, Schuman’s work has been featured in GQ, Vogue Italia, Vogue Paris, and Interview; for GQ, Schuman shot and edited his own page for over three years.
Schuman has appeared in national ad campaigns for The Gap and Verizon, and collaborated with Kiehl’s on an exclusively commissioned product and campaign surrounding Father’s Day.
Nespresso, DKNY Jeans, Gant, OVS, Crate & Barrel, and Absolut have all commissioned ad campaigns. Burberry, meanwhile, tapped Schuman to shoot the groundbreaking social media-cum-advertising “Art of the Trench” project.
In 2009 Penguin published an anthology of his images that has sold well over 100,000 copies to date and been translated into languages from English to Korean. Its limited-run Bespoke Edition sold out in less than three months.
His work resides in the permanent collections of the Victoria & Albert Museum and the Tokyo Metropolitan Museum of Photography.
Photography lighting for catalogs is different than lighting for advertising or an editorial. You rarely get the chance to get creative because the objective is to make the clothes look good and show details in the fabric. Many fashion designers use some very nice fabrics and the designers goal is to sell their clothes to buyers of department stores and get them seen in magazines.
Therefore the photographer doesn’t really have the freedom to use radical lighting ratios with dramatic shadows. So what kind of lighting is recommended for shooting catalogs ? Well I like very nice Rembrandt lighting. This is where you see the triangle of light under either the left or right eye. The reason I like to use Rembrandt lighting is because it isn’t flat and it isn’t too dramatic and shows the details of the clothes at the same time. Now for this shoot you can see I did a little variation of Rembrandt. It’s not a perfect typical triangle of light under the eye.
You can see the shadow is more opened up so there is a little more light on the model’s face. I chose to do this variation because when I originally showed the designer the actual Rembrandt set up, she felt it was a little too shadowed. As you can see in the images that the model’s LEFT side is in a light shadow. Look at the tighter shot and you see her LEFT cheek looks sculpted and my variation of Rembrandt lighting.
I accomplished this by placing a black V-Flat close to the model about three feet away from her. This gives you a negative fill. What’s happening is the large soft box is feathered away from the model a bit and some of the light is actually bouncing into and off of the white wall that is to the left of the soft box. Then that light hits the model, then hits the black V-Flat which soaks up some of the light giving you the negative fill and a nice shadow.
You control the darkness of the shadow by moving the V-Flat closer into the model or farther away. Closer in gives you a darker shadow and moving it away lightens the shadow. So what’s cool is I only used one light for this ! I combined the natural light and one strobe to create a lighting scheme that isn’t that flat ugly typical catalog lighting like you see in J C Penny. Please ask me questions and comment ! Click the lighting diagram and you will see it larger.
Fashion Photography Blogs Biography
Founder/blogger/photographer Scott Schuman began The Sartorialist with the idea of creating a two-way dialogue about the world of fashion and its relationship to daily life.
In addition to the blog, Schuman’s work has been featured in GQ, Vogue Italia, Vogue Paris, and Interview; for GQ, Schuman shot and edited his own page for over three years.
Schuman has appeared in national ad campaigns for The Gap and Verizon, and collaborated with Kiehl’s on an exclusively commissioned product and campaign surrounding Father’s Day.
Nespresso, DKNY Jeans, Gant, OVS, Crate & Barrel, and Absolut have all commissioned ad campaigns. Burberry, meanwhile, tapped Schuman to shoot the groundbreaking social media-cum-advertising “Art of the Trench” project.
In 2009 Penguin published an anthology of his images that has sold well over 100,000 copies to date and been translated into languages from English to Korean. Its limited-run Bespoke Edition sold out in less than three months.
His work resides in the permanent collections of the Victoria & Albert Museum and the Tokyo Metropolitan Museum of Photography.
Photography lighting for catalogs is different than lighting for advertising or an editorial. You rarely get the chance to get creative because the objective is to make the clothes look good and show details in the fabric. Many fashion designers use some very nice fabrics and the designers goal is to sell their clothes to buyers of department stores and get them seen in magazines.
Therefore the photographer doesn’t really have the freedom to use radical lighting ratios with dramatic shadows. So what kind of lighting is recommended for shooting catalogs ? Well I like very nice Rembrandt lighting. This is where you see the triangle of light under either the left or right eye. The reason I like to use Rembrandt lighting is because it isn’t flat and it isn’t too dramatic and shows the details of the clothes at the same time. Now for this shoot you can see I did a little variation of Rembrandt. It’s not a perfect typical triangle of light under the eye.
You can see the shadow is more opened up so there is a little more light on the model’s face. I chose to do this variation because when I originally showed the designer the actual Rembrandt set up, she felt it was a little too shadowed. As you can see in the images that the model’s LEFT side is in a light shadow. Look at the tighter shot and you see her LEFT cheek looks sculpted and my variation of Rembrandt lighting.
I accomplished this by placing a black V-Flat close to the model about three feet away from her. This gives you a negative fill. What’s happening is the large soft box is feathered away from the model a bit and some of the light is actually bouncing into and off of the white wall that is to the left of the soft box. Then that light hits the model, then hits the black V-Flat which soaks up some of the light giving you the negative fill and a nice shadow.
You control the darkness of the shadow by moving the V-Flat closer into the model or farther away. Closer in gives you a darker shadow and moving it away lightens the shadow. So what’s cool is I only used one light for this ! I combined the natural light and one strobe to create a lighting scheme that isn’t that flat ugly typical catalog lighting like you see in J C Penny. Please ask me questions and comment ! Click the lighting diagram and you will see it larger.
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
Fashion Photography Blogs
No comments:
Post a Comment