A gallery of my work organized by year.
The beauty of a mother-to-be is not just in the visions of her pregnant body, but are just as visible in the images of the woman herself. I give you a few more photos of the lovely Kerstin. I took these as part of a pregnancy photo shoot of her back in April, but felt they deserved their own showcase separate from the one focusing on her pregnancy.
(click the title above to see all of the images)
In a previous post, I presented a shot of my wife, Wendi, that we submitted to Molly’s Daily Kiss Sinful Sunday photo blog. As any photographer or model will tell you, when you’re shooting for a couple of hours with multiple costume and set changes, you always come away with at least a few great shots. Here I present to you the ‘Rest of the Story’. Included at the end are a couple of “just for the hell of it” shots. They’re all technically work safe, but I wouldn’t push it with most HR departments. So click on the MORE button and enjoy.
I haven’t participated in one of Molly’s themes in way too long so I asked Wendi (my much prettier half) if she’d pose for it. She was delighted and spent most of the day playing with cloth and clothes and lingerie and all the other fun things that go into a shoot like this. More photos from the shoot soon. This one’s for Sinful Sunday.
Click on the lips at the bottom to go to Molly’s Daily Kiss for links to the rest of the participant’s posts. Enjoy
Good scotch, a fine cigar, soft silks, a beautiful woman. What more could a photographer possibly want?
It’s not often I get another photographer in front of my camera, but I was blessed with that opportunity this weekend. Below the fold are the first few edits from a marathon 5+ hour session with this lovely lady.
Yep, they’re not safe for work. Nudity, tobacco and alcohol abound beyond the fold. I’m not sure which is more offensive to the prudes, to be honest.
What started as a simple lighting test to experiment with lighting angles, fabric textures and skin textures or muscle highlights ended up becoming a much more intense shoot than planned. As you’ll see from the images below the fold, the look is intense, textured, detailed and appears to have a fairly complex lighting setup.
What i used, however, is anything but complex. I used two speedlights inside 30 inch softboxes with radio slaves. For most shots they were set to 1/8 power and set perpendicular to and about 6 inches from the wall and about 3 feet from the model. They’re above the model’s head and tilted down to give a good wash of light over her body and still throw a soft hightligh on the wall. Because they’re softboxes insted of grids, i got a good highlight on the chains and cloth as well.
I would have preferred either larger softboxes or stip boxes to give me a fully parallel light rather than the downward cast light I have now. However, sofboxes large enough (72 or 80 inch would be perfect) would not have fit in the space we shot in and strip boxes that tall would have been almost as unwieldy and not given me the wash on the wall that I ended up liking very much.
The sescret to the complexity of the scenes is in the textures and contrast of the intricate cloth, the way it’s draped and the contrast with the wall behind it. The mix of hard chain with the soft silk of the cloth is mirrored in the intense textures in the model’s skin. Even the smooth skin of the lower back has an unusually pronounced texture.
I’ve included a quick snap of the light and prop setup that shows the space we were shooting in (my bedroom, in this instance). So jump into the comments and tell me how you’d shoot something like this or if this inspired you to shoot something, post it somewhere then come back here and etell us about it.
The images below are not safe for work. The nudity is mostly implied, but it bondage and eroticism isn’t implied, it’s right out in the open for anyone to seel.
The lovely Calamity Janet, one of my favorite redheads to grace my studio this year showed me how much fun several yards of yellow silk can be.
As usual, Not Safe For Work (NSFW). You’ve been warned.
Edit: Eight more photos added. (8/14)
Edit 2: Two new and One re-edit posted. (8/17)
A few weeks ago, I got an odd e-mail about my Google+ community; Atlanta Photography being used for Trey Ratcliff’s Atlanta Photowalk. Sadly, if you’re reading this and weren’t there, you missed it. You can read the details here. People have been posting their photos to my g+ group with the tag #TreyUSA and #AtlantaPhotowalk.
Enough words though. You all come here for the same reason you surf the web and (if you’re old enough to remember them) buy *those* magazines. You know the ones I’m talking about.
So here are the first fruits of the Photowalk last night. There will be many more images added to this gallery over time. I took almost a thousand shots in 3-shot bracketed groups. HDRI is the focus of Trey’s work so of course I had to shoot for HDRi. I shot these at +2, 0, -2 stops which gives me somethign on the order of 16 stops of dynamic range (have to confirm that number when I can find the time.. it’s off the top of my head and may be even wider than that).
Enjoy the photos.
While random-surfing through various comp-sci sites looking for something vaguely photography or graphics focused that would also satisfy the programmer in me, I came across a series of articles from the 90s about synthetic lighting. The premise is that you separate out each light source in a scene, including a shot of ONLY ambient light in order to allow you to do neat things with the lighting in post. Reconstructing lighting in a physical scene within a digital scene, alterations of light levels, colors, intensities, etc… even creating ‘negative’ lights that subtract light from a scene. All of this is the bread-n-butter for 3D artists, mainly because their entire world is synthetic. However, for photographers it’s a bit more complicated.
After reading several papers and blog posts about it, I decided to try my hand at a simple demonstration of the technique. What I did was take a static object and shoot three shots of it. One ambient, one with a strobe on the left, and one with a strobe on the right. Then, using some photoshop magic, created an interesting synthetic lighting setup that let me do somethign I could only have done with gels and a lot more fiddling with light levels.
Rather than talk about, let’s get down to the fun. Get your camera out, take an ambient shot and a shot with each of two lights individually lighting the same object. LOCK DOWN the camera, lights and object. You’ll be compositing all three shots together a couple of times during all of this. Everything has to line up perfectly.
With every shoot I do, I make an effort to revisit the shoot after some time has passed in order to look at the shots with a fresh eye. I’ll also do this after developing a new technique or just to experiment and see if I can come up with anything neat or show worthy.
I added quite a few images to the gallery of my low-key experiment shoot with Corrie back in January. Some of the new images are, in my opinion, my best low-key work to date, though there is one stunning high-key image included. I just can’t seem to get away from bright lights and hard shadows.
So, sit back and enjoy the show. I’d love to hear from all of you with comments, criticisms, suggestions or anything else you want to say or ask.
The gallery is behind the cut because, as you should already expect from me, they’re Not Safe For Work (NSFW).