Tag Archives: Hilde Marie Johansen

The girl in the polka dots is actually Nook Wiwanno, a Swedish-Thai model based in Bangkok.

The Girl with the Polka Dots

Light it! Shoot it! Process it! Welcome to our second installation of the 3inOne Workshop© series.

I had always wanted to do a shoot with a car, but not just any car. A car with a classic beauty. So when the owner of a 1959 Mercedes Benz agreed to let us use his car in a photoshoot, I designed a shoot called “Classic Beauty” and headed out to the man’s apartment building parking lot to make some images.

I wanted to shoot classics, so we used polka dots, strings of pearls, long gloves. The model was the perfect beauty for this shoot. Nook, a Swedish-Thai model, is statuesque and models H to T or “head to toe” in Tyra Banks‘ lingo. She can lower her eyelids just a tad and give you the most arrogant, sexy look one moment, and then soften her whole face the next.

On photoshoots, I always bring portable flash guns. In this case the shoot started at around 11 am after makeup. It was cloudy; this shot was taken in the rainy season in Bangkok when the clouds are thick and gray. I decided then to use only natural light with a couple of reflectors to enhance it and control where it was most intense.

The girl in the polka dots is actually Nook Wiwanno, a Swedish-Thai model based in Bangkok.

This particular shot was taken inside the driver’s side of the Merc with the door open. I had one assistant hold a large six-feet by four-feet reflector with the silver side toward the model. This reflector was position outside the windshield, angled at 45 degrees. This created the side lighting that gives us a three-dimensional effect in the image. The subtle highlights on the model’s arm is from the same source as the more pronounced highlight on the steering wheel.

This shot used two reflectors, much like a main light and a fill light.

I also placed a smaller 60-inch reflector with the silver side up, below camera, on the model’s lap. This light was to fill in the shadows on her face, and to give emphasis to her lips, the subject of the photo.

I used a very shallow depth of field, f/2.8, to give the shot a dreamy quality. I also shot it from slightly above, so that the subject of the shot (those lips!) would be framed by the model’s hands and the polka dot hat she wore.

Lastly, the light on the hat is from above, and that’s the sun diffused by the clouds on this rainy day.

So there you have it, an image shot with natural light.

Stay head on over our next 3inOne © post, which is a detailed, illustrated tutorial on how to process a fashion portrait using Adobe Photoshop.

I’ll be happy to answer questions you post in the comments.

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Natalie is one of the classiest famous person I have ever met.

Shooting the Most Beautiful Woman in the Universe

It’s dark inside the bar, except for a few bare bulbs emitting a feeble orange light. Miss Universe is here, and I have to shoot her in brilliant Indian couture.

I love the dark location. It means the camera is only going to see the light from the flashguns I’ll use. Sometimes, you can blend ambient light with strobe light, like in this shot with a brilliant blouse in deep red with gold embroidery. There is a bare light bulb just above the most beautiful woman in the universe, and it’s mixing in with the main light I have firing with a diffuser on from camera right.

She is soft spoken and humble.

Other times, it’s good not to have too much ambient light. Controlling light from flash gives more pop to a photo—more saturated color, more detail. When you’re shooting people, for example, closeup with flash, it seems every pore on their face is visible.

Off camera flash, small and portable, have been catapulted into star status among photography enthusiasts by The Strobist extraordinaire David Hobby. I chose flash units rather than buying a studio set because the flashguns are easy to carry around to locations away from my small home studio. These flashguns are versatile, accompanying me from shoots in a tropical forest to a tabletop where I shot jewelry.

While the makeup artist Hilde Marie Johansen is working with Miss Universe 2005 Natalie Glebova, I am working with Bianca Kirn, a young model working out of Bangkok. The outfit is an orange and bright pink variation of salwar kameez, a three-piece set worn in the day time. I want the color to pop, so I use a high shutter speed to kill the ambient light from the bare light bulbs. To light Bianca, I use one light on a lightstand above her, attached to a softbox—essentially a black box with one white side through which the light comes out soft and diffused. Another flash gun provides fill light—just a little burst of light to fill in the shadows on the fabric.

Brilliant orange and pink on Bianca.

Later, Natalie comes out in a beautiful lehenga choli, a traditionally red outfit worn by brides in the Northern part of India. This lehenga is ice lemon and turquoise,  so lovely on Natalie. To light Natalie, who is already very tall and is standing on a staircase, I have to prop my lightstand on three bar stools and tie it to the rail of the staircase with a couple of bungee balls—these nifty little elastic bands with large plastic balls at the end. The main light is the softbox on the lightstand camera right. Two other flash guns provide fill, one below the camera for the dress, and another camera left for the shadows on the model.

Although a celebrity in her own right, Natalie is very down to earth.

We shoot six outfits, and the last set is with a white salwar kameez with fringe made of 19 meters of fabric. To show off that fringe on the skirt, I ask Natalie to hold the skirt beside her. To light this shot, I place the softbox on camera right and the fill light three yards on camera left, zoomed to 85mm. The great thing about the flash guns these days is the zoom function. Some flashguns can zoom up to 200mm; this means the light is stronger coming out of the unit, and it can be thrown a long way.

Natalie is one of the classiest famous people I have ever met.

I could have been there all night, shooting away. It didn’t matter what the light outside looked like, or what light was available on location. There was a way to make light, and this is always, always a good thing.

_________________
Welcome back and thanks for reading Imagine That! To keep updated with new posts, subscribe to Imagine That! by clicking on the RSS Feed button on the upper right of the Homepage.

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