Here are a set of pictures in the nude, (with clean post production). Just the odd monochrome conversion and a bit of white balance shifting. All my photographs get edited like this and a few copies then go on to get pulled around with actions etc. I’ve been blogging a few too many of the variations lately so here are the ‘nude’ set.
1. A simple white balance shift to 4200k was all I needed to create this cool aqua look. The lighting was from one Lupo 800 HMI and a top secret reflection making process :)
Our house make up artist Vicky Waghorn created the looks and the fabulous hair styles too. Enjoy…
2. After the first two sessions using single and double lights, I showed how to create a classic three point lighting set up.
3. My Dulux Ice Storm 2 wall is perfect for mono portraits. Put light on it and it can be white. Switch the light off and it will be black. Here I’ve used a diffused spot effect to go from zone 6 to zone 1 in the Ansel Adams scale.
4. I used a beauty dish with a shower cap accessory to key Chloe here. This modern softer light makes this shot completely different to the vintage look I created at my last studio lighting workshop. I discuss and demonstrate all the looks with my delegates while we feast on capturing beautiful portraits.
5. A quick shift of the lighting balance and we have gone punk! With edgy make up and a studded leather jacket the look would have been completed. Billy Idol would have looked great in this light (in his day).
6. Osbourne and Little wall coverings are so divine. I’ve only got 3 drops but that’s enough to add interest to a look. Soft key and hard kick 2 point lighting accentuates Chloe’s fabulous jaw line.
7. Channel in blue. My yellow wall becomes English mustard with a bit less light on it. Wayfarers complete the summer of 69 look.
8. Just one light in the optimum position is all you need plus the odd reflector.
9. The same yellow wall but in my Bowens sunlight.
10. Pop the white balance to 2600k for a bit of blue action.
11. In the white corner with a pair of gridded 500Ws Bowens Prolites circa 1996. Still going strong after 14 years of demanding service.
12. Next it was time to shoot the same corner with continuous light. The Lupo 1200 provided the slash of light while the Lupo 800 was warming up as an area flood. The warm up period gives a green light, it soon passes to reveal pure white light.
13. I love shooting with continuous light because what you see is what you get and with the Lupo HMI lights you can shoot hand held too because of their efficient light output.
14. Lupo 800 light is so fabulous to work with. As a Fresnel spotlight is creates a crisp shadow and accentuates cheekbones like no soft light can ever do.
15. Chloe taught us all how to be ravishingly radiant. This is a look that will make her famous for sure. Me too if I tag along :)
16. I love this photograph. A great proportion of my favourite pictures have eyes closed. As a viewer I’m drawn into this shot.
17. This reminds me of Testino’s picture of Madonna for her album ‘Ray of Light’. I don’t want to look at the album artwork now because it will look completely different, but to me there is a connection and that’s what matters.
18. One of the gels in the Lovegrove Studio Collection was rigged to light the background and the flash head was set at power level 1. This deeply seductive blue could not be created by lighting a white background. You need grey to bring out the full range of hues and luminance.
19. Gel 6 is a shocker. This has not had any saturation increase. It is as straight from camera.
20. We then broke off from f/16 and opened up to f/2.8 for a bit of a shake up. The light here was daylight coming through my open door in the studio.
21. We shot a few naturally lit French art movie frames before getting back to swinging lights in the studio.
22. All the lights were hard sources and upstage for this shot.
23. We had some fun to finish the day. Chloe and Vicky made a toga and I made waves with an old film trick I learned in the 80s at the BBC.
24. My heart skipped a beat when I saw this shot on the back of my camera. One Lupo 800 light was all I used plus a bit of magic. Continuous light is perfect for this kind of effect because what you see is what you get. White balance was 3800k.
This was the first time I had shot with my Lupo HMI’s and now they have changed the way I work. Here are pictures and some information on the Lupo spotlights. It was 14 years ago that I bought my Arri 300 Junior Fresnel and now my 150w Lupo 800 is my weapon of choice for studio and daylight hours location work. Please feel free to comment on the workshop or these pictures. You can also ask questions about the Lupo lights too.