01. Our session started with a contre jour set of images. I lit Iskra with the Lupo 1200 to simulate sunlight.
This was my first time photographing Iskra Lawrence. We met at 08.30 and soon struck up a good relationship whilst overcoming a minor wardrobe issue. With that sorted, Iskra went into her make up session with Vicky Waghorn. I decided to shoot in just three bedrooms, a bathroom and the upstairs landing of the house. Those rooms were to become our studio for the next two days. The 60 or so pictures you see here were shot on two back to back workshops. The demand for this ‘Into The Light‘ workshop has allowed me to add one more date for this season. Details can be found here.
02. Lupo 1200 'sunlight' brings this picture alive.
03. The Lupo is now just out of shot to the right looking back towards the camera and Iskra is lit by windowlight.
04. Real lashes, real beauty.
05. Iskra has a fresh clean healty glow without the need to smudge or clone. Great lighting does the work. By avoiding skin softening these pictures show the real and beautiful Iskra, freckles and all.
06. This frame was shot using my little Fujifilm X100 camera at f/2 The Lupo is still to the right and windowlight is the key.
07. I love the subtle changes that make a big difference. However there is a confusion in this image because we can't see Iskra's lips. There are also a couple of lens caps belonging to the delegates on the bedside table. This is one of the many good reasons not to use lens caps.
08. This frame shot with my 50mm f/1.2 deals with the issues above.
09. When I photograph someone new I always shoot lots of head shots and beauty details and I always use my 100mm macro lens to do it.
10. By 10.30 we were having a bit of fun. The Lupo is still doing the job of providing the hair light.
11. I started to pull in some depth of expression to add gravity to my pictures. Iskra was patient and kind with us all giving each camera in turn the attention and time needed to capture her beauty.
13. This is the kind of beauty detail I love to shoot with my macro lens.
14. 100mm f/2.8 lens at f/2.8.
15. The backlight is so important in these images, as important as Iskra's eye highlights.
16. This could well be my favourite shot of the day. I took it on my Fuji X100 and it mesmerises me. I love the fact that some people won't 'get it'.
17. With the curtains opened and Iskra shuffeled over a more conventional frame is shot. I still get excited when shooting these frames. I love the lines and the strong diagonals they create.
18. When the sun was gone the light was more suitable for beauty pictures.
19. Iskra in the bathroom. Shot on my Fuji X100 with me on my knees. The Lupo provides my key light. Look at Iskra's chin shadow for the whole story.
20. In a cold iron bath and still Iskra had fun. Lines, design and shades of near white are ever present in this bathroom. This is a good leg lengthening perspective too.
21. Iskra's legs are lit with the Lupo 1200. The rest is art apparently.
22. Lit with the light from one window.
23. A different angle allows me to introduce flare or lift in the image.
Lunch was a lavish affair all home made fine quisine with our tables set in a wonderful part of the famous Matara. It was a time to share the buzz of the morning. Martin charged the Bron kits, got out the Speedlights While I planned the afternoon pictures. I decided to go dramatic and shake up a few things…
24. After lunch it was time to enter the dark side. This shot was lit by window light alone in a bright airy room. It's a bit of magic I share with my delegates and then promptly swear them to secrecy.
25. This is the perfect light to shoot pregnancy portraits and the best thing is it's free.
26. A wider shot with less dramatic lighting still draws attention.
27. Then came my magic water reflector.
28. Eye contact changes everything. If you are shooting for an album you will need a great variety of images and just a few with eye contact. This set has 61 images, a great number for an album.
29. I always intersperse wide shots, close ups and detail shots in my albums. Curls of hair, striking eyes and lushous lips lit with dappled light.
30. I taught my delegates how to create Hollywood cheek triangles of light on the near side to the camera. I kept the contrast controlled with a swish of the curtains.
31. A high viewpoint softens of Iskra's look. Her skin texture and luminosity make the shot real.
32. An offset quizical look was the start of our journey into emotions and looks. I have so much more to explore on this front with Iskra. It's a good job the headboard on the bed is out of focus.
33. This is my second favourite picture of the set. I love it becase it shouldn't work. A patch of sunlight on the carpet bounced up onto I'skra's face creating shadows where they shouldn't be but I love it. Wispy, delicate and devine. When the bottom of a nose is brighter than the top you know you are heading into trouble but here it works.
34. Getting creative with another of my groups. It's all about curves and tones when this kind of natural light presents itself.
35. The dark corridor was lit with a Lupo 800 through my Venetian blind.
36. Shadows and attitude. Just look at the shadow, how gorgeous is that.
37. The intended shot with the Lupo keylight perfectly illuminating Iskra's face.
38. Into the light was the title of the workshop and I think Martin and I managed to do justice to the genre.
39. I lit this scene with reflected light from the Lupo.
40. The same lighting as above.
42. Shot from above the eyeline using my Fuji X100 camera.
43. Shot using my 50mm lens on the Canon.
44. The low angle viewpoint changes the whole dynamic of this shot.
45. That cheek triangle of light is at play here too.
46. Lit with minimal natural light in the dark corridor.
47. When you have total control of the light ariound you it is easy to make pictures like this. I love this dark side of portraiture.
50. We were ahead of time on day 2 by about 10 minutes so Iskra and I had a pillow fight. I shot this sequence on the Fuji X100 to see how it would cope in a warzone. I held the camera in one hand and used my other for the pillows.
52. Iskra is lit by a Lupo 800.
53. The delegates each got stuck in too and we all had a bit of fun near the end of the day.
61. Extremes of into the light shooting deliver exciting and natural looks.
Martin’s pictures from this workshop are here. We will be running one more of these ‘Into the Light‘ workshops at Kingscotte House in Gloucestershire this season. Details can be found here.
You can also browse our range of upcoming photography training courses here.
Please feel free to comment on these shots below.
||Model Iskra Lawrence (@Iskra_)
wow @damienlovegrove @vickywaghorn i love them!Going to be so hard to choose which ones to put in my book already looking forward to 31st
Thu Jul 21 23:05:01 2011
@damienlovegrove Stunning mate, absolutely STUNNING! Can I just ask, what WB do you use? because the colour shots have a wonderful warmth
Fri Jul 22 17:03:37 2011
||Wedding Ideas Mag (@wimagazine)
Ah! We love Iskra – she’s been our covergirl twice. Great work!
Fri Jul 22 17:49:18 2011
||Mark Wilson (@MarkWilsonPhoto)
@damienlovegrove Beautiful shots – particularly like 10,19,28,47,52,53,54 Like the settings – wonderful clean lighting.
Fri Jul 22 23:13:10 2011