Photo Shoot Out-Takes

So, originally, we had planned this to be a blooper blog entry, but after reviewing the photos I had planned to post, it seems like they're more out-takes than actual bloopers.  Every photo shoot comes with its own unique energy and fun: in the case of my shoot with Jen, this frequently manifested as goofiness, some of which I'll be sharing in this post.  Since this is a dual post but most of the pictures will be provided by yours truly (Haley, btw), Jen and I will be providing commentary on each picture.

I have to preface this first set with a bit of background.  Jen and I had just arrived at our local, downtown park, Big Spring. We had begun our photo shoot and just gotten warmed up, when we noticed that we were being followed . . . stalked, even.  And who might this creeper be, you ask?  None other than this most viciously loathsome, wholly nefarious, and foully devious . . .

Archie the Evil Duck

. . . duck.  Just look at him! With his black and beady eyes, red-stained face.  Clearly, this duck was up to no good.  Also, I didn't care for the way he was eyeing Jen.  I mean, yes, she's the hotness, but it's just plain rude to stare at someone's ankles for so long.

So, here we were walking along the bridge, taking photographs, and generally frolicking when Jen's stalker duck arrived.  However, not ones to be daunted by an air of bad intentions, Jen and I fought back, and here you find our results:

Archie the Evil Duck on the Approach

Haley:  Here we witness Archie, the evil duck, as he approaches.  Jen gives him a glare, but it does not appear to affect his swaggering waddle.

Jen: I was suspicious of Archie (if that is his real name) from the start.  Currently working in a corporate environment, I am used to stares and gawks, but back in 2009, I was an innocent college graduate, thinking the world was void of stalker ducks and filled with rainbows, unicorns, and history teaching jobs.  Oh, how Archie proved me very, very wrong.

Archie the Evil Duck Fails at Nonchalance

Haley:   In this next shot, we witness the Archie's devious attempt to convince us that he is merely passing by.  However, notice that Jen is not so easily fooled, and the two exchange a loaded look. *cue tumbleweed*

Jen: As I stared into his dark, beady eyes, I could see the hunger there.  Steeling up my energy against such lecherous behavior, I attempted to rise above his lowbrow, ducky presence and continue on with my model-y duties.  But, the cold-blooded glares exchanged merely foreshadowed what was to come.

Archie the Evil Duck Returns

Haley:  This shot was taken towards the end of our time in the park.  We had lost Archie the Evil Duck sometime during our meandering photo journey and thought ourselves safe.  When Jen and I spotted our stalker once more.

Jen: Yeah, he's kind of a bastard.

Archie the Evil Duck Gets Nervous

Haley: After some debate, Jen and I settled on a plan of attack: stalk the Archie the Evil Duck in return. Note Archie's nervous glance toward camera.

Jen: Read: Haley made Jen approach the duck.  However, I came to realize that such a method of attack might actually work, and I stalked back in such a way that instilled fear into every Muscovy duck in the downtown Huntsville area.

Besides, I happen to have graduated summa cum laude from Stalker University, having achieved the highest marks in Stalking 101.

Archie the Evil Duck Flees

Haley: In face of our dual assault, Archie the Evil Duck flees.  After all, Jen is quite intimidating. *nods head*

Jen: It's true.  After two years, no duck has dared approach me.  I believe I'm on their Do Not Stalk list.  Note Archie's craven stance as he flees my regal and awe-inspiring presence, shoulders slumped in defeat and submission.  Actually, this technique does not apply solely to ducks; many a coworker have acted in the same way when I use this tactic to stave away creepiness.  It's not just a tactic, but IT'S A WAY OF LIFE.

If you get anything out of this post other than a few chuckles, hopefully it is this: outtakes and bloopers can be a fun series of their own, even though they're probably not the spotlight-gorgeous shots that you'll feature in a portfolio.  And, honestly?  They can be among the most enjoyable pictures you take/model for.

See you guys Friday!

It Don't Matter if You're Black [and] White

Augh, my brain.  Things have been a bit hectic 'round here, but this blog is a nice, relaxing outlet for my snark and photo skillz.  Just...don't expect too much snark in this post, mainly because I haz teh dumbs.  I don't really know why I preface the actual post with how drained/stressed I am--as if I really need to apologize for it--but, since I usually ache for approval, that's just how it's going to be.  (Ohgod, ohgod, ohgod, you think I'm a flake; PLEASE LIKE ME.)

Although we discussed the relationship between color and light, this week's posts center more on the opposite: the effects of lighting without the backing of color.  Black and white photography is, of course, a classic theme, but there are many reasons for this:  1.) well-established lighting can be more dramatic without color; 2.) certain moments can become more powerful through the use of black and white; 3.) it's really fun, etc.  Black and white photography, of course, can be particularly tricky; to use black and white photography effectively, the blacks must be the richest blacks and the whites the most pristine whites, all the while running the risks of over- or under-exposure.

Black and white photography is treacherous.  Tread softly, else it eat you alive.  Just imagine your tiny, useless legs flailing about while your top half is engulfed by the B&W Monster's mult-fanged gaping maw.

Of course, if you stroke it just right, the B&W Monster will be your friend.

Teazer in Action - Athens, AL (Dec. 2010)

Take, for instance, this photo.  I did the B&W Monster some (entirely legal) favors, and he came through for me.  My cat, Teazer, is a neurotic Jabba the Hutt of a cat--but she's a sweetie and kind of redeems herself by being a decent feline model.  I managed to get this shot of her while she was shaking her head, but the shot turned out well enough that the action actually suited the frame's composition.  Shot originally in black and white, the lack of saturation seems to emphasize the shake of her head, and the shadow beneath Teazer's chin provides the appropriate dark balance for the cat's white chest and whiskers.  The blacks of her eyes also displays the eyes' slant, caused by the abrupt motion of the cat's head.  Thus, the balance between the darks and lights, along with the lack of color, places emphasis on Teazer's movement and makes it the focus of the photo.

Self Portrait (Feb. 2011)

I'm a bit hesitant about this next photo, as it is a self portrait.  I'm not particularly concerned that you, our lovely reader(s), know(s) what I look like, but I do, in the age of social networking shots-from-above-duck-face profile pictures, sometimes question the validity of a self portrait used for an artistic study.  (I will make an argument in support for well done self portraits in a future post, but I do want to make clear that I do view it as a sensitive issue.)  However, this particular photo harkens back to my statement about lighting and black and white photography: notice the rich, black background, whose shadows engulf the model's hair and surrounds the face, while the face itself reflects the available light--providing a counterbalance to the powerful black.  The eyebrows, pupils, and shirt at the bottom corner of the picture also compliment the otherwise-white face.  The face's angle provides further interest to the photo, which the lighting captures well.  The fact that the face seems almost disconnected from the neck because of the intense shadows further adds a dramatic addition to the photo.  Had this picture been left in its original state as a colored photo, the shadows would not have been nearly as intense, the lighting wouldn't have been as effective, and the composition itself had the potential to fall flat.  So, good job, black and white--you done good with that thar desaturatin', y'all.

Dogwood Blossom - Athens, AL (Mar. 2011)

In direct contrast to the self portrait, this photo of a solitary dogwood blossom (everything is in full bloom here--ACHOO) focuses more on the blossom's highlights, particularly the whites of the flower itself.  Though the branches provide the shadows necessary for a successful black and white photograph, it's really white's show, here.  Taking advantage of natural midday light, the blossom reflects the light, though the photograph's angle prevents the subject from becoming over-exposed, a common problem when practicing in black and white (I admit, I do have this problem at times).  The highlights emphasize the singleness of the dogwood blossom, along with the neutral grey background that further makes the highlights pop.  The bottom-most branch also presents a nice, vertical line that cuts through the greys and balances out the highlights by catching the viewer's eye.  Ultimately, this shot further displays how light--in this case, highlights--makes the photo more appealing and the blossom more striking, which is a main factor of a black and white photograph's success.

I'm currently thinking that I will make black and white photography another future mini-study, like my texture study.  That would be fun, and it will also be beneficial when considering contrast, lighting, and how to deal with certain scenarios without the safety net of color.

Color and Light Remix

Well, phooey. I completely spaced last night's posting.  I blame being exhausted, cooking dinner, and having a new game for my birthday.  (Yeah, so the last one had a lot to do with it... eh heh heh.) But, I have a peace offering that comes in the form of a super-awesome post on color and light in nature photography and portraiture with lots of pretty pictures. Yep! *nods head*

So, color and light. I have found that these two elements are inextricably linked in photography (and, indeed, in nature as last Wednesday's post illustrated).  The presence of light, or lack thereof, in a photograph determines the colors, shades and hues available to the eye in any given piece. As the type of lighting varies, so too does the type of color that appears. But enough lecturing, let's jump in to some examples.

Miss Beazer in the Garden, June 2008

This first picture is similar to that of Jen's post:  the lighting creates a certain uniformity of color throughout the photography.  In this case, there is a blue shading to the entire photo.  This photo was taken on a late summer morning of a very overcast day.  The lack of a direct light source coupled with the grayish cast of the clouds has created the blue lighting we see.  Compositionally speaking, I love this photograph, but lighting-wise, it's probably not the greatest ever.  However, I enjoy the affect that the blue light has on the colors in this photograph.  It softens many of the harsher colors while enhancing some of the softer ones.  For example, the pine mulch is actually a rather vibrant brown, and the cat's fur was a very rich dark brown.  However, the lighting softens these colors and makes them stand out less against the background than they otherwise would.  Meanwhile, the greens of the stems of the flowers and the grass like dianthus in the foreground, which would typically be a paler, sagey, gray-green, appear to be a much darker, almost jade-like color when blended with the blue light.

Cardinal Flower, August 2008

Bam! Pow! Zap! In stark contrast to the softening effect of the above picture, this photograph illustrates how lighting can create bolder colors and add vibrancy. When this was taken, the sun was slightly behind and above the flower on a very sunny afternoon.  The angle creates a slight glowing effect in the upper petals of the flower and the leaf running across the upper section of the photo.  This is enhanced by the fact that the angle of light casts the bottom of the flowers and stem in shadow while highlighting the rest of the plant. An already colorful flower, the sunlight enhances the vibrancy of the red so that it jumps out of the photograph. Also, the pale yellow-green of the foliage, which is ordinarily fairly flat in color, becomes a screamingly vibrant green that contrasts and sets off the red cardinal flowers quite nicely.

But enough with all this... nature, let's move on to portraiture.  First, a small note about my style of photography within this genre.  In her Monday post, Jen makes a distinction between posed and unposed portraiture.  My style falls somewhere in between.  On the one hand, during a typical photo shoot the model is very much aware that I'm taking her picture, and thus we can hardly call the result candid.  However, when conducting a photo shoot, I tend to let the model wander and "pose" naturally and as she see fits.  This creates a much more natural looking photograph.  Why is this important to the topic at hand, you ask?  Because it means that as a photographer, I'm rarely thinking about composition as I photograph (that just comes somewhat naturally), and this means that light and color just sort of happen.  As Jen said in her post, the photographer is left to take advantage of awesome lighting when it comes up. This is perhaps why I tend to prefer natural lighting to staged.

It's Magic on a Covered Bridge

And now for some completely happenstance lighting awesomeness.  I know, right?  This photo was taken around May and is from the first photo shoot I ever did.  Aside from being a favorite, I chose this picture because it so nicely complements Jen's green canopied photo in Monday's post. This was definitely a case where I recognized great lighting when I saw it, and directed Rachel (the model pictured) to stand in the pool of light.  Despite the similar composition of this photo, it in some ways is a reversal of Jen's photo.  This photograph features a dark constructed pathway that lead out into nature.  And, rather than a dark figure popping out of the picture, a colorful one is highlighted amongst the darker tones.  I love the variety of light in this photo as well.  The light softly filters through the wooden cover in the foreground before flooding Rachel in brilliant light.  The light completely covers her lower body, preventing us from seeing anything else, before enhancing the vibrancy of her red shirt.

But, alas, it is time to bid you adieu.  Seriously, before I post about a dozen more photos to this blog.  Perhaps Jen and I should do a black and white week next week to contrast this one.  What say you, Jen?

Links and Such for a Showery Wednesday

Jen: Related to Monday's post, here are a few links that are making me happy this week concerning color and light.  First on the list is the clip to the actual song "Color and Light," from the live recording of Stephen Sondheim's Sunday in the Park with George, performed by Mandy Patinkin and Bernadette Peters. 

On an only slightly related note, check out NPR's The Picture Show blog.  Besides featuring consistently excellent articles that feature impressive photographs, it also presents a few posts dealing with, you guessed it, color and light.  This one deals more with color, but it sort of reminds me of ye olde Impressionist paintings.  (Well, not all, not really--well, I guess I'm only talking about picture four.)  (Okay, the art enthusiast in me has to admit that most of them resemble more of early twentieth-century styles.)  (All right, I don't know what I'm talking about.)  If you like color and liquor, you'll enjoy this article.

Also, take a look at this article for a couple of extraordinary snow photos.  The top and bottom pictures display what I attempted to convey with Monday's post (the middle one is purdy, too).  If you like what you see there, I suggest also taking a look at these photographers' Flickr sites, which the blog provides in the captions.

That's it on my end!  Have a good evening.

Haley: So, here I am, rather late having had to sit out a tornado siren and collect cats.  I must say that I'm a bit at a loss as to what to write today, even with Jen having done the hard work of starting the post and choosing a topic.  Le sigh.

Okay, let's see... color and light... (*cracks knuckles and wiggles fingers*).  I suppose I'll begin with something I find fairly interesting.  In her post on Monday, Jen discussed the product of the combined efforts of color and light and how the two naturally go together.  So, here is a (somewhat simplified) scientific explanation of how color and light are indeed naturally linked.  Pretty spiffy.

But anyway, on to the really fun stuff - books! *pushes glasses up nose*  These two books are both on my wish list, having thumbed through them both.  The first is Practical Artistry: Light & Exposure for Digital Photographers.  This book has a fairly extensive section on using lighting and various techniques and, more importantly, some truly awesome photographs. Next, we have Digital Lighting & Rendering. I've selected this book because it contains extensive chapters on light and also has a really good chapter each on color and shadows.

Aaaaaannnnnnd... yeah.  That's about it for our Wednesday post.  Enjoy, and join me on Friday for my post on color and light in portraiture and nature photography, using available lighting sources.

Color and Light

Well, it looks like the blog has gotten off to a pretty decent start, for two people who don't really know what they're doing.  (Just kidding.  We do.  I think.)  Once Haley and I iron out what's working, what needs improvement, and what absolutely rocks, we'll start publicizing SLP more on das Internets and locally in Huntsville.  I may (cough) even get a logo up and running (cough).  Regardless, we'll let you, our faithful reader(s), know of any publicity stunts we do, be they on Facebook, Twitter, or some combination of Twitbook.

Anyway, this week's posts center on color, light, and, moreover, how light affects the colors of certain photographs.  My post deals more with the role of light and color in unposed portraiture, while Haley's writeup will center more on her areas of expertise.

So, let's begin with a musical.

Stephen Sondheim's Sunday in the Park with George, 1984, is what comes to mind when contemplating the role of color and light in certain photographs.  In his song, "Color and Light" (Hey!  What a coincidence!), the artist George Seurat sings:

Color and light.
There's only color and light.
Yellow and white.
Just blue and yellow and white.
Look at the air, miss-
See whet I mean?
No, look over there, miss-
That's done with green...
Conjoined with orange...


Throughout the musical, Sondheim's Seurat obsesses over the role of color and light, along with how these two elements make art a living, breathing creation.  Seurat surrounds himself with the idea of color and light,  with the notion that light greatly influences the power of color and vice versa.  These beliefs are reflected in his major work, A Sunday Afternoon on the Island of La Grande Jatte (1884–1886), which relies on the eye's understanding of the combined efforts of these two elements.

Crystal - Sloss Furnace, Birmingham, AL (Sept. 2010)

Though there is much, much more to the musical than that little blurb, my brain farted and thus got rid of the college constipation of literary analysis (I love LA, so I'm not really bashing it).  However, let's take what I did summarize and apply it to some of my (*beams*) images.  Simply put, light does influence the color, along with many other aspects, of a photo.  Take, for instance, this shot at Sloss Furnace, Birmingham, AL.  This particular lighting at once washes out and emphasizes the pinks and yellows that dominate the composition, creating a soft, delicate atmosphere. Because of the soft--and, as you see, stark--lighting, the model's dress, skin, and corset share a common pink, which is also visible in the concrete.  Additionally, the glow the lighting produces also affects the model's golden hair, giving her an almost ethereal persona.  Because of her pose (I basically let her go free reign on the posing, and she was unaware I was taking this shot at all) and how the midday light centered on her and scattered over the ground, I was able to get a striking photo.  Had the model been in the shadow, the shot may have been okay, but it would have lacked the life the color and light bring.

Looking at the Geese - Green Mountain, Huntsville, AL (Jul. 2009)

The following photos also demonstrate the roles of light and color, and how effectively these two work together to create striking photographs in unstaged portraiture.  In my personal experience as an amateur photographer, I've enjoyed utilizing color and light throughout the years; sometimes, through a fluke shot of awesomeness, and other times through planned perfection (hee, alliteration always absolutely amuses me).  I'm horribly laid back as far as photographers are concerned, but it's worked for me thus far, and it will continue to work.  This shot of Heather and Declan at Green Mountain was indeed a fluke shot.  As I recall, Heather was explaining turtles to her son, and suddenly a legion of geese were gliding on the water below.  I quickly snapped the shot, giggled at my evil glee, and then realized that the lighting did a wonderful job at emphasizing the bright yellows and greens of their apparel and the natural background.  Fluke?  Yes.  But the ability to take advantage of that fluke it also very important to understanding the relationship between color and light, as being able to notice the intricacies between the two lends to more opportunities.

Wandering in Gruenewald, Berlin, Germany (May 2008)

This next one is the first in a series of People Walking Away from the Camera, but it is also yet another example of how light and color play nicely with one another.  (It's a little-known fact that those two were established enemies in preschool.)  It's also an example of planned lighting--not that I have any control whatsoever of the weather (though wouldn't that beat all?), but I recognized the lighting when I saw it and thus acted accordingly.  The light "freckles" its way from the model's feet to the almost blinding flood of light in the foreground, which the path's pattern emphasizes.  The almost overwhelming greens practically encase the model, but he remains visible because of his place in the shadows (unlike our first example).  The light's glow emphasizes the greens, and the greens emphasize the foreground's pool of light.  Much like Sondheim's Seurat, the photo seems to live and breath color and light, and their harmony makes all three photos visually interesting.  Like skittles.

There really is a lot more to be said on this theme, along with more color and light studies to be done.  Besides, I've been horribly lax on the snark factor in this post, which needs to be rectified.  Regardless, I expect to post much more on varying topics concerning this theme, such as shadow play, (effective) overexposure, etc., etc.  I look forward to it.  You should, too.