Welcome to one of my throwback episodes. The shoot presented here was done quite a while ago but it’s totally worth sharing with you.
The action took place in 2006 and it was approximately the 5th glamNude shoot that I had ever done. I produced in my then studio/apartment and the purpose for me was to practice and hopefully get a few lovely pics for my very first glam portfolio.
I had the luck to get Marketa Belonoha (references on Google Images 
) for this job who was already quite a web celeb at that time. Marketa had countless shoots under her belt and already starred in 2 books published by Petter Hegre. But Marketa was still all natural in behavior and totally fresh in her ways. No allures, endlessly sweet, easy to work with and seemingly very forgiving when working with newcomers like me.
Even though I was most thankful for the experience, I could not really use many pics from this set. Exactly one shot was good enough to make it into my very first booklet which is of not such a high standard anyway.
The rest of the series is a great reminder of how not to execute lighting and angles… I am still frustrated that I did not prepare myself better.
Lighting Design: Wrong Placement, Wrong Ratios, Wrong Characteristics
This set plan (= lighting design) is just pro forma. As particularized, the lighting was not exactly brilliant, but rather shitty. While the position of the lights, the directions and even the lights’ functions (key, fill) might work, I would definitely use different ratios (for example, less power for the head fill-in) and other modifiers (for example, a gridded standard reflector for the key).
Also one huge mistake happened here that disturbs the style of a glamNude portrait: there are almost no recognizable reflections (= feel!) in the model’s eyes. As I always preach: it’s the catchlights, catchlights, chatchlights!
Rediscovered Pics From This Set
Just a few more images from the “Rose Set”, rediscovered 11 years later. Shot with a different angle, applied different post, created a whole other look/mood. It basically makes no sense at all (composition, overblown, framing) but I simply admire to see Marketa’s beauty. She’s a gem. And I did not do as much work with her as I should have because – as mentioned before – those were my very modest beginnings… (Hegre has been clearly at an advantage back then :-))
Lighting Gear
- 3x 400 Ws Monoblocs
- Key light: Collapsed reflective umbrella (white coated)
- Fill-in head: Bounce over a reflector disc (white side)
- Fill-in legs: Stripbox, not hitting the set
Cam/Lens Settings
- Nikon D200 (cropped sensor)
- ISO 400
- f/11
- 1/60
- 18-85mm
Despite all the hurdles and not-so-thrilling glam outcome we had a great time on set and it was worth the investment. The roses almost cost more than the model fee :-)))
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Thank you, Dan, for the article and confirming a theory I have been forming through my own work: With a stellar, professional model it is almost impossible for me to totally screw up a shoot, no matter how inept I may be. 🙂
-Alan D
Hi Alan, I just had to guffaw very very hard. Awesome, thanks for this!
But of course you are totally right: working with beautiful professionals makes it almost impossible to fail.
Even if the series would be out of focus you still can declare this later as the as a conceptional intent. The only shame would be that there is not much beauty left to see… 🙂
Thanks for commenting and #ShootBold
Dan
Dan, curious about the collapsed umbrella! What a great idea to narrow a reflected light. Why do you think it didn’t work in this case?
-Alan D
Alan, the problem was (is) that the shape and therefore the volume is not greatly controllable and generally the “reflective shape” in the eyes does not create the effect I like to have – igniting some sparkle.
While the light is softer with a reflective umbrella than a small standard reflector I would nonetheless prefer a direct light hitting upper body/face with a smaller modifier.
Dan,
Thanks for sharing! I think every photographer (or chef, actor, cab driver, whatever) has stories to tell about the day things went badly. Trying new things is how we learn, often by failing first! Sometimes an idea works perfectly in your head, but it can never quite work in the real world. Thanks for being brave enough to share your learning experience!
Dave
Hey Dave, thanks for watching!
Yeah a lot of my wonderful ideas work superb in my mind (and dreams) but fail horribly when putting into action. Sometimes even twice the same struggle – hopeless me 🙂
“Bravery”: I guess everybody will have a different take away from this episode but I am sure we all learn from seeing/experiencing what´s not such amazingly done here. Since I take myself not too seriously (though my work absolutely) I feel OK with sharing challenges/mistakes if they are documented 🙂
– Dan
Hi Dan,
I’m glad that you aren’t afraid to talk about a shoot that you consider a failure. It’s easy fore those of us who aren’t established photographers to think that those who are “there” somehow magically always shot that well. Rather, it’s a process of growth with triumphs and failures along the way. its what you learn from failures that’s important. If you were to shoot this again, how would you do it now?
Joe
Hello Joe, thanks for commenting.
As you state quite correctly, reaching some pro level is for everybody the same way to go: practicing. Over and over again. As Joe Edelman perfectly says: “Your next shot is your best shot”. Unfortunately this costs a bit more money in our genre than in others. But doing the much needed step-by-step path one gets better and “successes” (whatever we define as such) will be achieved.
If I would repeat this concept (same shooting angle) I would improve the following:
1) A hell lot more rose petals. Today I know where to get a truckload of them for cheap; only the petals, no actual roses. Lesson here: Prepare properly and do the homework, meaning get your stuff right at first place.
2) Actually using Photoshop to fill the holes and make the “petal floor pattern” looking rich and consistent.
3) Lighting:
a) Fill-in Head: Higher positioned, much less powered, still bounced over a matte surface.
b) Fill-in “legs”: Positioning the light farther away being bounced over a larger, matte white surface to achieve just a washed out “light volume”. Power: probably more subtle.
c) Key: Direct light with a smaller (gridded) modifier like standard reflector or beauty dish for a bit more punch/drama. Most probably mounted on a boom are more direct top down for having preciser control on the catch lights.
Or opposite when aiming for a softer light: Large shoot-through umbrella (= large, nice, round catchlights) also mounted on a boom, top down.
Except 3A these are all very small improvements but would make doubtlessly a huge difference.
As with any job/task: Professional results require the right tools and the right amount of experience – which of both wasn’t present the time I shot this…
🙂 Dan
HI Dan,
Thanks for sharing one of your earlier shoots. The use of video to capture the event is a great idea and allows you to look back at it and see what went right and what went wrong.
So often the initial planned lighting setups get ‘changed’ (fixed) after the first few frames and its difficult to remember the exact positions later on – so its a great self-learning tool.
Will attempt a video for one of my next shoots. Not sure I would be brave enough to post it for a while 🙂
As others have pointed out its great to see you being self-honest about the images, it also serves as a reminder that everyone started somewhere and that it’s a continuous learning curve. Thanks for sharing.
If people were shooting for a client – it would also be a nice fun video to include with their images
Dave
Hello Dave, thanks for watching and commenting.
If you have a video ready done from one of your shoots I would like to encourage you to get in contact with me.
First I would love to see how you shoot and secondly I am quite sure it would be of great value making it accessible to others to be “the fly on the wall”. Let me know:-)
Video documentary for clients: Your idea is good and it would be a great “souvenir” for the clients. My experience though is that nobody is willing to pay for the effort. And most likely other usage (like for my blog for example) is restricted by copyright limitations. This is what makes videos from such shoots rather rare.
Best,
Dan