Because of how tight our schedules are, when Kylie did have time
available to model, we made the most of it - three sessions in one day
is not common; except when I was in Alberta with Victoria in 1999, I
doubt I work three times in a day with a single model more then a couple
of times a year. That being said, with access to three different
settings/styles of work available, we took advantage of the
We started our studio session with an
evolution of the semi-silhouette images I'd made with Miranda earlier;
this time I was able to get closer to my intention. My first attempt
with frustrated me because the background was too distinct because the
flash was so bright and I needed to stop the lens down on the digital
camera to a smaller aperture to compensate; this time I used a neutral
density (ND) filter to reduce the depth of field. The final results were
very pleasing, both from a technical perspective, with a better mix of
shadows and light, and a more pleasing depth of field. I think I will
continue to pursue this idea, as between the images of Miranda and this
session with Kylie, I have made a number of images of this type that
really jump out at me.
Once we finished working with the painted backdrop and the strong side lighting, I changed the room around to a more traditional set-up (for me, at least), with the black backdrop and my single light to the front, providing a pleasing light for portraiture. Again, having only a single flash-head to work with was somewhat limiting but by the same token, my usual frustration with studio work was somewhat mitigated by the simplicity of the set-up - with a single light, there are only so many options.
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