Everyone knows what a horse looks like, but have you ever looked up at a horse from below? Photographer Andrius Burba wants to show you what this unusual perspective looks like through his latest project, titled Under-Horse.
The Lithuanian photographer had previously done a similar concept with cats, titled Under-Cats, but as you might expect, photographing horses in this manner requires a lot more planning (two months of it), work, and coordination (over 40 people were involved).
“It’s the most difficult photo shoot I’ve ever had,” Burba says. His makeshift photo studio was created by digging a large hold 3 meters (nearly 10 feet) into the ground.
He then placed his camera in the hole and covered it with a giant 400kg (~900lb), 3×1.75m (9.8×5.7ft) pane of ultra-strong glass.
The 600kg (~1,300lb) horses were wearing custom rubber horseshoes to prevent scratching on the glass.
We’re all familiar with the fuzzy circles that bokeh creates usually behind our main subject, but this lesson is about creating bokeh in front of the subject. And that is what Mark Wallace is about to show us in the 6-minute video above. This episode of Adorama TV is about getting a kind of outdoor feel and adding depth to your indoor portraits.
You can use daylight or continuous light and an uncluttered background might be best. You will need 3 things:
1.) LED or Christmas lights
3.) Wide aperture lens
Frame your model in a loose composition, so that you have enough space on the sides to create the bokeh effects.
Use a wide aperture lens like f/1.4 or f/2 and shoot wide open, as you want the LED lights to go out of focus. The camera should be on manual settings for shutter speed as you don’t want the sensor to be fooled by the light coming in from the LEDs. Manual focus should be used, so that the camera does not focus on the LED lights as you wave them in front of the lens.
You can use white or colored lights depending upon the effect you are creating. A tripod is certainly useful but if you don’t have one you may still be able to get by, but it will be more difficult. When you are shooting at wide apertures like f/1.4 the depth of field is very shallow and even slight movement can make your subject out of focus. It will help to draw a line on the floor so that your model stays fixed in one spot. When you are on a tripod your model has already been focused, so you have to look only at the placement and position of the lights. If you are hand-holding you will have to look at 2 things simultaneously: model focus and light position.
Move the lights in front of the lens to get the best effect and remember not to overpower the face with too many or large soft blurs. The closer your light is to the lens the larger will be the bokeh.
Here are a few of the example photos captured by Wallace in the tutorial video above:
UK-based photographer Joe Giacomet has published a new set of portraits based on one of the world’s most popular paintings. The photos parody the iconic “Chinese Girl” painting (also referred to as “The Green Lady”), created back in 1952 by Vladimir Tretchikoff.
Here’s the original painting, thought to be the most reproduced print in the world:
Giacomet shot the series for COY! Communications, which wanted images to show off the talents of their resident make-up artist, Saskia Laroque Rothstein-Longaretti. Rothstein-Longaretti transformed graphic designer Kate Henderson into the “Chinese Girl” by painting her face and costume.
“Once the make up was complete, there was so much shading that it required very little lighting so I completely simplified it to a mostly top lit set up, with just a touch of key light from one direction and it looked great,” Giacomet says. “We started by bouncing 2 lights into V flats to give the background a nice flat tone, this was bounced back in with a poly on the other side. I then added two lights bounced off the ceiling, which gave us a good general top light.”
“I then added in a Chimera XS Soft box to use as a subtle key light, and finally a large soft box behind camera, quite far back, to take out just a touch of the darkness in the shadows from the top lights,” he continues. “I also added in two ½ stop nets, one above the back of Kate’s head to create a bit more shape to the hair. The other was just under the key light to take a bit off the costume, I felt didn’t need as much light as the face.”
Here are the portraits that resulted from the shoot (in addition to the faithful recreation at the top, titled “East Croydon Girl”):
Credits: Photography by Joe Giacomet. Concept / Art Direction: Mark Denton Esq. Make-up & Costume Painting: Saskia Laroque Rothstein-Longaretti. Hair: Anna Longaretti. Costume: Emily Wilson. Stylist: Sabina Piccini. Retouch: Oli Carver. Art Department: The Joy of Sets. CGI Bubble: A Large Evil Corporation. Production: Juan Coello Hollebecq. Design Company: COY! Communications
Audrey Hepburn, Charlie Chaplin, Elvis Presley, Whitney Houston, and other of America’s most famous historical icons are back, thanks to French photographer Etienne Clotis and his team. For his ongoing series ICONIC, Clotis transforms models into these famous personages for one epic portrait.
Clotis is a fashion photographer by trade, but for ICONIC he’s switched gears somewhat. His stylized portraits bring some of the most influential people of the past back to life for a single image, and the skill with which he and his team “resurrect” these icons is astounding.
Each image is stylized in some way to offer a hint (or sometimes to blatantly reveal) who the person in the image is, but you’d hardly need it. From the choice of models, to makeup, to posing and hair, every portrait is a dead ringer for the person it’s trying to portray.
This particular selection is all American icons, but the 100-photo project goes well beyond the USA’s borders. To see more of the over 100 portraits Clotis has captured, head over to the Iconic website by clicking here.