Studio session with a model - set up 2
Let's go back to where we were and come right down on the table. Taro, if you can life this up a little bit for her so she doesn't have to come down so far, we'll lift the table up a little bit and you're a little bit more like this, so the table should be pretty high.
How does that feel?
Good, so like this?
So you're not, I would say more like this, so the elbows are, exactly.
Yeah, a little bit, yeah, there.
So when you look at something like this and you begin to look at her face, you should have a concentration on what's going on with what fashion she's wearing. So I'm going to make a slight adjustment here, grab the sleeve here and we pull the sleeve down a little bit. The sleeves are quite short, we just pull them down. So as you work with her, you've got to, at that point you know, somehow begin to examine what the clothing is doing, how everything is working here, you know? Just come towards the ligh...
t here, there. Now, let's just possibly, and I'll do this Louiz come on my other side here, and maybe we can give you, don't move I'm going to slide this board out. I'm going to give you this board here and from this angle over there you can give me just a little bit of movement. So we turn this shot more once once again into a beauty shot here, you know? Come down, then come up a little bit. Now she's come down, I still think the light is good so try just that little bit of movement in the hair. You can be closer Louiz. And sometimes the hair will fall into the same position here. It's very good there so just hold on a second, it might just stay, you know? Let me get back in here. Ah, Taro?
I'm just gonna come up to here. Also very nice a little bit up like that, not quite so far but. Okay, now let me see the movement in the hair. Go a little bit back Louiz, that's it. Little bit lower with the eyes, about here. (camera clicking) Stay there. Now don't move at all. Right there, hold steady. Hold steady, hold steady, don't move. (camera clicking) I've done two hits here, there we go. Okay. Just relax there. I'm sure most photographers realize that, but, in here, I've got a medium telephoto lens, a 1:10 and I've done two hits here and the computer now allows you to splice these two shots, so why not just move back and do this shot as a complete shot and risk a split? Well of course you don't risk everything, you don't put all your eggs in one basket to risk that it matches. But what we're gonna do now, we're gonna splice these together so why do it as split there is a compression value of the lens because I'm so close to her and there is a slight sense of immediacy because I'm so close, so let's try, I think Adrian, you putting the two of them together?
So there's a program in the computer which most computers have where you can splice these two together and you can get a slightly more powerful image when you splice the two of them together as opposed to moving back or changing the lenses. But it is a way of making perhaps a simple beauty shot just a little bit more powerful and more immediate, so now we'll crop this. You can see the close out, I'm actually working on a 100 megapixel camera so therefore I'm now essentially working with about 180 megapixels here. And of course I've changed this now into basically a landscape format and we can come in a little bit on the top. Keep coming in there, and a little bit on the sides here. On the left side it can come a little bit more. And we can, that's pretty good right there. So you can actually create a more powerful shot so, at first glance, it doesn't look perhaps a lot different to the way that you say might say put on a 150 or 180, but if you keep looking at this, you'll find that the shot actually for me anyway, has more power because of that double hit on it because there's something about the compression of the lenses and the closeness here, and it's just different if you move the camera back. So it's just a little extra thing that once in a while you can consider as something additional. But we'll actually, we can move this shot over now and we'll move it onto a Photoshop system and you can have look at how I would maybe analyze some of this and how I would put together this shot if I felt it was kind of strong enough. So we can do that. (vibrant music)