QA examples

A selection from a wider edited set, illustrating points for discussion

By Paul Clarke Photography

May 25^th, 2017

Studio lighting (1)

A mixture of lighting positions, using a gridded soft umbrella for key light, and a honeycomb kicker light to pick up hair/face on opposite side to key light, adding depth. Numerous technical issues around reflections and colour balance. A full shoot needs to preset two or three states in different positions, to give variety of composition, and consistency of light intensity.

Works well for "Wired"-style feature photos, especially wider spreads. Useful to consider stylist/make-up artist given possibility of skin shine in this higher contrast style. Shine here has been compensated for in post-production.

Other points to bear in mind: size of subject in frame, inclusion of branding, and to-camera or away-from-camera expression. Doesn't have to be consistent across all subjects, but can make a big difference in terms of impact, formality and engagement.

Composite PHoto

The money shot here is a composite of two strong images: the eye contact makes the shot, and careful editing gets the best from both original frames.

Studio lighting (2)

As in previous set, note the impact of expression and eye contact.

Studio lighting (3)

The styling of high-intensity lighting and coloured/darker backgrounds means that – unless there is make-up powder liberally flying around – images can benefit from post-production to soften and tone down any skin shine.

An additional observation on colour palette: a feature editor may prefer a less obviously corporate choice (like the pink/red tones here) rather than the more common blue/green palette of many company websites. Both versions have their place; but the better choice is dependent on the preferred destination for the image.

Available light (1)

In contrast to the studio-lit shots, these all use whatever light was available, be that window (supplemented with interior lighting and a positioned reflector to fill shadows), or coloured interior lighting in the Lab. Can give a more relaxed feel, as more shots can be taken in quick succession, without flash, and with precise selection of the best expression in a set.

available light (2)

The last two in this set are fully outside, but avoiding direct sunlight and using a darker covered area to provide framing and backdrop. The boundary between darkness and light gives the ability to closely control lighting intensity, and get studio-effect lighting without using flash.

interior group shot

Shooting groups requires a deeper depth of focus than shooting individuals. In interiors, this almost always means the use of studio lighting to give a high quality image. Here a bounced key light high to the left of the camera is supplemented with a second flash head providing a back light to increase the depth and uniform lighting level of the photo.

Exterior group shots

Showing the effect of different angles and compositions, but all using fill flash to ensure subjects can clearly be seen against the brighter surroundings – and using International House as a principal composition feature.

Headshots

General note: although the portraiture here has been shot, in the main, as wider feature compositions, the quality of the images is such that any can be cropped down to a head & shoulders style for use as a byline photo, if required. They will all be considerably more characterful than standard white-background headshots.