Usually, people look better in photographs than they do in real life. Occasionally a couple come along who defy that rule and just look stunning all the time. Krystina and Nana are such a couple.
They approached me about shooting their wedding and after an initial consultation we found ourselves headed for a quiet little Cheshire village to embark on our first photo shoot together.
I always advise that couples take the time for a pre wedding or engagement shoot. It’s a great opportunity to get to know your photographer and get used to relaxing in front of the lens.
Over the course of the shoot I learned more about Krystina and Nana and their lives together. Their look favoured an editorial feel and I used more off camera lighting than usual. This created some truly dramatic shots as the sun fell lower.
I love the ‘model’ look this couple have. I can’t wait to shoot their wedding..
I’ve said it before and I’ll say it again. I love shooting dancers.
There’s something special about the control and grace of dance that makes the images so exciting and spontaneous. Sophia and Liam are building a portfolio and came to me to capture their skills in a less conventional way than the usual portfolio.
On a shoot, just occasionally everything falls exactly into place.
Andy and Annika’s engagement shoot was one of those times. Blue skies with wisps of cloud make for a fabulous backdrop as the couple splashed in the waves at Hoylake beach and enjoy the sun. A shoot like this is a great way to learn to relax in front off the camera but Andy and Annika were perfect and looked completely natural for the camera.
During a quick stop off in a farmers field Andy braved his hayfever to capture these beautiful moments in a field of pollinating flowers. Totally worth it.
Congratulations to them both and look out for the next post for their amazing Liverpool wedding featuring a shot from above, framed as a guest book for them to hang in their new home.
I knew I wanted a completely dark background for my shots. Fortunately the studio is large enough to allow a lot of distance between my model and my backdrop. This means with the right lighting, my flash will drop off dramatically and not reach my backdrop at all. For most of these shots I’m using two soft boxes in a clamshell configuration, one above and one below Ceri. In addition, two strong side lights give great depth to the images and really show off the fabric of the dresses.
As always, Charlotte produced a flawless make up look and we shot a variety of poses. I hesitate to use the word ‘poses’ as that’s not how it works. It’s never “stand like this” then “change to this.” When shooting there is a constant communication between photographer and model and we fire ideas back and forth about the shots. Some of my favourites from the day were candid, unprepared shots where we just captured a great image without it being or looking contrived.
Here’s just a few from the shoot. My particular favourites being the movement shots, I love how the light has frozen Ceri’s hair and dress with just enough fall off or her to fade into the background. Also it’s great how relaxed she looks amidst all that motion.
I should point out that Ceri is not a professional model but I think she looks great in this fashion inspired shoot, perfect for starting a portfolio.
For details of fashion and portrait shoots check the links at the top of the page or for more portfolio images head over to jonhallphoto.co.uk
I love my new studio, it’s a great space and a huge room that dwarfs the 3m backdrop. An empty photograph doesn’t do it justice, so how do I shoot it to give a sense of the space available? This is what I came up with, its a cool shot that’s not too difficult to achieve with the right setup and a methodical approach to Photoshop.
In choosing your setting pick somewhere that will give you plenty of opportunities for different poses. The studio worked great because there’s plenty to do and things to adjust and look at. The more variation you can use the better the effect I think.
Your first step is to frame your picture and secure the camera to a sturdy tripod so It won’t move. At all. Most good tripods have a weight hook on the bottom. Hang something heavy (check the capacity of your tripod) on this to increase stability if you’re shooting outside. You must not zoom at all during your shots, you will have no problem with a prime lens or twist zoom. If you use a push-pull zoom like I did for this shot you might want to run a little tape over the barrel to make sure everything stays put. Once everything is framed you can consider your focus. Pick a spot to focus on at the distance you will be standing. Once you have your focus, switch it to manual and leave it alone. For the shots to match up the focus must be identical for every frame.
For my shot I knew I wanted everything sharp and printable on a large scale so at f16 and ISO 200, this gave me 1/10 second for the shutter. That’s fine at this focal length on a tripod as long as I don’t move. The tripod negates ay camera blur so my only limit is how long I can stay still.
Now make sure all auto settings are turned off. Auto ISO and Auto White Balance will give you variation across frames. Pick a white balance preset or value that looks good on your screen, if you shoot in RAW you can always alter this later. Each exposure must be the same for this to work so if you’re not sure try taking a photo with your hand close to and covering the centre of the lens. If the exposure looks the same and your lens doesn’t move then your camera is not adjusting for focus or light. Perfect.
To make this easy on myself I used a radio remote to trigger the camera with a 5 second timer on the shutter. This gives me time to pose, press and hide the remote before each shot is taken. If you don’t have a remote trigger, just set the timer for as long as you need and be prepared to do a lot of running. Think carefully about where you can pose when framing your shot, if this is your first time using masks in Photoshop try not to overlap your images. Leave a decent gap in your frame between each pose to make the editing easier. Of course if you can do it, overlapping the images only adds to the effect and makes it more convincing to the viewer.
Take a shot of the empty setting and make sure your happy with the preview. Now the fun bit, snap away. If you plan your poses carefully you can interact with yourself, experiment to see what works for you but be aware of reflections and shadows. In my shot the reflections in the floor and shadows on the seats all add to the realism. If you aren’t too comfortable with Photoshop make sure these don’t interfere with each other or overlap.
When you think you have enough options go through your shots on camera but try not to move anything. If you want to retake any pictures you’ll never get it lined up exactly right. If you see any you don’t like go back and take some more. Better to have too many options than too few.
If you’ve done everything right, you now have a set of images identical except for your position in them. If you want to make any global adjustments such as saturation, contrast or levels you have two options.
Compose your photos into one image before adjustment then treat the resulting image as a single photograph to edit, possibly better if you shooting JPEG but not for me.
Make global adjustments in software such as Lightroom or Camera Raw before importing them to Photoshop.
I always choose option two as Adobe’s Lightroom software is perfect for group image changes, once imported I can work on just one image until I’m happy with the result, then synchronize my settings across all the rest. You can do this with Adobe’s camera Raw too, a plug in used automatically for RAW files. If you are shooting JPEG right click on the your selected files and click ‘open with’ then select adobe camera raw to access this easy adjustment and sync for your images. These steps are for Mac OS users but I’m sure windows has a similar command.
So, assuming your familiar with basic editing, first adjustments are done and your ready to start composing. You can skip straight to this step if your happy with your exposure. If the image is good straight from camera go ahead.
In Lightroom select the images you want to use, let’s say you use two, one picture sitting on a chair, one standing up next to it. Right click (ctrl click) to bring up the menu. Select ‘edit in’ and then ‘open as Layers in Photoshop’ to let the two programs import them all into your layers window for you. If you’re using Camera Raw or just Photoshop, open your first image then in the File menu select ‘place’. This will create a new layer containing your second image, directly over your first. for large numbers of images repeat until you have them all imported, each in their own layer.
At this point it’s a good idea to label each layer. Make sure you have your layers window open (F7) and double click on the layer names to edit. If you have trouble identifying which is which, click the eye icon on the left of any layer to toggle it’s visibility or alt-click to see only that layer. When each layer is named, for example ‘sitting/ standing’ alt-click the eye icon next to the first layer (sitting) so only that layer is visible. This is our starting point for the first layer mask.
Using Layer Masks
Click the eye next to your second layer (standing). We want to bring in only the parts of this image that are different from the first so we use a layer mask to choose the area to keep. Click the second layer so it is selected and in the Layer menu highlight ‘Layer Mask’ and click ‘Reveal all’
Nothing happened. The ‘Reveal all’ has applied a mask that is currently blocking the pixels underneath at 100% opacity. You can see in the layers window that ‘standing’ now has a new white box next to it indicating it is linked to a layer mask. As long as that layer mask box is selected we can tell the mask how much of the image to let through by painting onto the mask in shades of white, grey and black.
Select the brush tool in your palette and select black as your colour. Use a large soft brush to fade the effect and avoid harsh
edges if there are any differences between your layers. To change your brush size and hardness just right click anywhere on the image. Paint over the area in your frame you wish to keep, until you have erased yourself completely from the second layer, as you do so you will see a mini version of your work in the layers window. Your image should now look exactly like the first layer with no harsh edges from your brush or evidence that you were ever there. And then.. make sure the layer mask is still selected and press cmd-I to invert the mask.
Now there are two versions of you in the image with a seamless transition between them. Note the box in the layers window has flipped from black on white, to white on black when we inverted it .To bring more into the picture from layer 2 use a white brush, to trim it down use a black brush. You could skip straight to here by selecting ‘Hide all’ in the Layer menu earlier instead of ‘Reveal all’ but this does mean guessing your shape and positioning from a blank canvas when painting with the white brush. I find it easier this away round.
For multiple images that do not overlap, you can keep repeating this process. When you are happy with two layers. Click the eye icon next to the third. Select that layer and create another layer mask. If you’re images do overlap you will need more than the brush to get a convincing result but that would make this post even longer and you’ve already done very well to get this far so try this first and we’ll talk about quick masks another time.
Once you are happy with your image you’ll need to save and export it to JPEG format for normal use. Save your PSD file now while the layers are all clear and easy to edit. This may take some time if you have 11 large files in masked layers like I did but do it anyway. With a PSD file you can re edit each layer as much as you like. Only delete this when you have your finished product in saved in the highest quality you need. If you are completely happy and ready to ‘save as’ a JPEG, then right click on any layer in the layers window and select ‘flatten image’ this reduces the file size and makes it a much easier job for Photoshop to export and save.. If you opened your files through Lightroom. Closing Photoshop and selecting ‘save’ will create a TIFF or PSD file in your source directory and add it to your library automatically. You can then export it straight from Lghtroom as normal. Clever stuff.
It’s not every day I have a Chihuahua in a jumper in my studio, but today was that day. Charlotte brought little Pepe along to see how he enjoyed the camera and it turns out he’s quite the poser.
He also presents quite a challenge, in that he does not stop moving. He may fit in a handbag but he can put on a turn of speed. Especially when the camera is much more interesting than the big white space I want him to stay in. The secret it seems is chicken, in this case cunningly used to hold his attention just long enough to take a shot before he winds up his legs like a cartoon, eventually gains traction and disappears. It’s been a fun afternoon.
Shooting pets can be a challenge, Pepe is tiny and rapid so conditions had to be carefully setup. By using powerful speed lights but keeping the output low, the flash duration is so fast that it freezes the frantic pup instead of relying on the shutter to do it.
The lighting setup for these images is a softbox on each side at 10 and 2 o’clock and one white shoot through umbrella above the camera at half the power of the sidelights. These stronger side lights ensure a nice sense of depth against the white background whilst the umbrella fills the details and gives catch lights in the eyes.
This may not be a typical pet shoot but then I’d like to think I’m not a typical photographer and Pepe is certainly not a typical pet. It is something a little different and quite a talking point for Charlotte, Pepe’s owner.
Why are they like buses? You wait all year for one and then four come along at once!
With the opening of the new studio in West Kirby, we’ve been attracting some attention. Not least from this group of Santas who popped in this week as part of a local Santa dash. Tim, Heather and the staff from The Wro Lounge swung by for a mulled wine, mince pie and a quick snap.
A quick pic like this is easy to produce and took us only a minute to do. For impromptu shoots like this there is no charge for the session. Just drop in, strike a pose and buy the images or prints if you want them.