Studio PhotographyTechniques Class Handouts

Studio Photography Techniques

Foundational Principals

1.) Live by a simple philosophy of photography:

·        Keep your eyes open!

Always look for beauty in the light, in the line, in the form, and in the subject itself.

·        Keep your heart open!

Fall in love with your subject. Otherwise, please, for everybody’s sake, lay the camera down and go do something more useful like mowing the grass, washing clothes, or washing the dishes! The world is full of mediocre pictures. Don’t add to the garbage heap by not loving your subject. Take a break from photography and come back to your subject when you feel you can love it.

2.) Apply these five “Be’s” for better studio photos:

A.)   Be a minimalist. The minimalist photographer sets out to expose the essence, the essentials, or the basic identity of a subject through eliminating all non-essential forms, features, or concepts. Studio photography is especially suited for minimalism because you control what’s included in the photo.

B.)   Be a “beginner” (at heart, not in knowledge). Never lose the simple thrill of looking through a camera and taking a photograph. Thoroughly learn the craft of photography, but don’t become dulled by your supposed “superior knowledge” of the photographic process. Be humbled by the awesome experience of capturing light on a sensor. Don’t lose the magic of it all! Get rid of the training wheels as soon as possible, but never lose the joy of riding the bike.

C.)   Be feminine! When we think of femininity, we think of gentleness, empathy, sensitivity, caring, compassion, tolerance, and nurturance. There is a certain pleasing, yet innocent, loveliness associated with feminine qualities. Photographically seeing in a feminine way produces photographs that are soothing to the eye. These images nurture the eyes, and thereby, the mind.

D.)   Be color-coordinated. Utilize the color wheel in your choice of backgrounds and props.

Use Analogous Colors: These are colors like green, blue-green and yellow-green. These are colors right next to each other on the color wheel. They usually match extremely well, but they also create almost no contrast. They’re good for very serene-feeling designs where you want the viewer to feel comfortable.

Use Complementary Colors:These are colors like red and green, blue and orange, violet and yellow. These are the colors directly across from each other on the color wheel. They’re called “complementary” because, when used together, they become extremely vibrant and have heavy contrast. Complementary colors are useful when you want to make something stand out. For example, if you use a green background and have a red subject on it, the red subject will seem to jump off the page. You have to be careful because, at certain intensities, complementary colors can become harsh looking, and jarring to the eye.

E.)   Be sharp!

·        Use a tripod, a cable release, and mirror lock-up (if your camera has that feature).

·        Use the “sweet spot” of the lens for maximum sharpness and control the depth of field with focus stacking. The “sweet spot” varies with each lens, but it usually between 2 to 4 stops down from the maximum aperture of the lens. The studio is a great place to use focus stacking, since there’s no chance of the subject moving. (Please see my article on the club web site for a detailed explanation of focus stacking).

3.) The two basic kinds of photographs:

A.)   Found photographs – taken on location.

·        The photo is taken in the subject’s natural environment.

·        The background occurs naturally.

·        Lighting is greatly influenced by the time of day, the position of the sun, and how much cloud cover there is.

·        Basically, Mother Nature is in control, although you can modify the light with reflectors, diffusers, and gobos.

B.)   Photographs using previsualization – taken in the studio. The photograph is seen in the photographer’s mind before she or he even start the actual process of taking the photograph.

·        The subject is brought to the studio to be photographed.

·        The background and props are supplied by the photographer.

·        The lighting is consistent and is completely controlled by the photographer with the use of reflectors, diffusers, and gobos.

·        In the studio, you basically become Mother Nature; you become the creator (with a small “c”) in that little world of the studio.

4.) As Thomas Edison said, “Genius is one percent inspiration and ninety-nine percent perspiration.”

The Practical Issues

1.) A brief overview of equipment, props, and materials.

·        Light table, light stands, background stand, extension tubes, holders, and clamps.

·        Materials and props.

2.) Studio lighting (without the use of electronic flash units):

    A.) The two main light sources:

          The Window

·        There should be no direct sunlight coming through the window that you choose. If you get direct sunlight for part of the day, you can control it by hanging up a transparent shower curtain liner to diffuse the light. Just remove it when there is no more direct sunlight.

·        The bigger the window, the better. My window is 5 ft. x 5 ft., but you can use a smaller window. A larger window will give you more control over the light.

·        You can modify the size of the window light by partially closing the shades or blocking portions of the window with opaque cloth.

·        The light can be modified by hanging up transparent cloth like lace.

·        The light can be modified at the subject with reflectors, diffusers, and gobos.

·        Window light can be used in conjunction with the light table.

          The Light Table

·        Great for subjects with some transparency.

·        Produces mainly back lighting, although reflectors can bring it to the front of the subject.

·        A combination of transparent and opaque objects can produce a dramatic effect.

·        The light can be modified with reflectors.

·        The light table can be used in conjunction with window light.

                                        Deconstructing Some Studio Shots

Woven Sun– used light table with reflectors plus HDR.

Skeletal Leaves– used light table plus focus stacking.

Peach Phalaenopsis– used widow light with reflectors plus textured glass and long exposure.

Rocks that Rock!– used light table and window light with diffuser and reflector.

Minimalized Wild Flowers– used window light with variable ND filter and long exposure.

Orchids Primping in a Mirror– used window light with reflector and mirror.

Flying Orchid– used window light with reflector and mirror plus focus stacking.

Red Berries– used window light with reflector plus focus stacking.

Backlit Ferns– used light table with reflector plus HDR.

Marbles in a Jar– used light table plus HDR.

Guts of a Cat’s Eye– used light table plus focus stacking.

Transparent Shells– used light table with reflector plus HDR

Red Poinsettia - used light table with LED accent lights plus HDR.