A gallery of my work organized by year.
The Seventh and final day of a week of posts from the most enjoyable shoot I’ve had this year.
This last set is the most traditional boudoir style outfit of the evening, but we’re still doing it our way and having fun with the theme. Enjoy.
This set also includes one of my single favorite (and probably single best) photos of anyone I’ve taken this year.
(no nudity, but there are suggestive themes)
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.
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.