A few weeks back I did a shoot with Jonny Baynham, a new male model keen to get more pictures and photo shoots. Today I’ll share a few of the pictures from the shoot, and elaborate on a couple of set-ups. Make sure you also check out the Move yourself to find the right light post on the blog too for a couple more pictures.
We started off simple; one light with a beauty dish up and above Jonny’s head. To control the spill of the light at honeycomb grid was also used, this had the effect of rendering the white studio wall behind Jonny as dark grey. If I wanted to make it white then I would need to add more light on the background. In fact due to the studio having quite a low ceiling then it’s quite easy to get bounced light lightening the background so grids are my usual starting point for this kind of shot.
With a change of outfit, the addition of a hooded top, and a move of the light to the right of the camerawe got two effects. Firstly there was now almost no light on the studio’s white wall so it went all but black, then depending on the positioning of the light you could create strong shadows to the side of the nose. In the picture here I preferred the “nose shadow” to be visible, other pictures with Jonny moved backwards so the light filled in the shadow were not as “dark and sinister”. I also used the photographers favourite a large clamp on the hidden side of the hood to make the front side a bit tighter.
Jonny had been working out at the gym a little, and was keen to have some shots to see how the results looked and also what areas of his body needed more gym work to get the overall balance of his shape right. I set up a couple of lights at the same power to the sides of his body and kept up with the beauty dish as the main front light. Then added a fourth light from the back with a snoot on it to separate his hair from the background. Whilst I could make the white studio wall’s pretty grey it was simpler to help by adding a black background behind the model.
With the “studio” part of the shoot done I wanted to get out in the warm sunshine and use the Speedlites too. The bright sunshine needed quite some taming and I ended up using High Speed Sync on the Speedlite 600EX-RT to light Jonny. I set the camera to 1/1000s at f/5.6 to pretty much knock down the ambient light. E-TTL II took care of the flash exposure and I’d already chosen the ambient exposure manually.
For a more dappled effect the flash was placed with some leaves blocking it’s path and creating more interesting light. The it was simply a case of work around the position, and the beware of the dog sign. Though it does remove quite simply in Photoshop with content aware fill, I decided to leave it in for this shot.
Here’s a few selected images from the shoot