Art Handler
View allAll Photos Tagged BehindTheScenes
I try to get down to eye level when shooting these guys too but I certainly don’t look this graceful doing it. I’m much more intimate with the ground. Which makes me less mobile too so it’s really nice when they hold still for a bit. This was a cold day, with he previous night getting way below freezing so I was surprised to see an active snake.
From a recent collaboration in a cool new location, this is Paul posing while Tim improvises with a bulldog clip full of burning steel wool. No fingers were burnt in the making of this shot....note to self; take drill next time....
Here is how we did it:
Knowing that we would have to make composite images for each of the reproductions and that each of the details of the Edo Pop prints would be a different size, photographer Charles Walbridge started with the size of the baffles and worked backwards.
First, Walbridge converted the twelve by nine-foot baffle to 144 inches x 108 inches. Knowing that this type of print should be a 100 DPI final image, he knew needed to photograph the prints in sections to build a final file that was 14,400 by 10,800 pixels.
Above: Charles Walbridge photographs a section of "Ichikawa Yaozo III as Umeomaru" by Kabukido Enkyo for Edo Pop.
I stopped by the Lake Whitney for a few days while coming back from my art show in Bremond, TX end of June past year.
It often happens to me to suddenly become creative in new places especially if I can feel and smell wood there. It was the case in that fascinating cabin, too; only I realized that I had nothing, absolutely nothing I needed at that time for styling, not even a hairpin to tie my hair... I was very angry at myself, but when I pack for an art show, there are thousands of other more important things I have to think of. Anyway, I used one of my summer thin blouses to attach hair up, and this black bodysuit that seemed good for my concept. I sat down at the big round table. Many ideas started flowing.
This is where I created my series titled "And All Was Night Below Stretching Its Body, the Fur Of a Live Killer Panther":
This is what happens when you don't have a proper notion of time and space. I'm so bad at it, especially here in the U.S. I almost completely lost the notion of space.
It took me way too long to get ready, to pack my styling and gear that day. I was very inspired to take pictures for one of the poems by Halina Poświatowska, which I had studied carefully on the same day. I imagined all the scenes, and what I could possible do at this location, which I knew from the previous visits.
I was so excited about it but upon arrival at the destination, I was informed that the access to the lake wasn't permitted for visitors. Then, I was redirected to other entrance open to tourists. You can't imagine how angry I was. While in the car, I was only admiring the sunset on the way, and almost gave up on the shooting.
When I finally arrived to the lake, there were only 10 minutes left before the sunset, 10 minutes of warm soft light! I didn't even think to wear any of my styling, I forgot everything I planned to do, I just adjusted to the circumstances. I had only sharp rocks under my shoes. I removed them and the dress, placed the tripod and started shooting. The nature itself was enough of an inspiration to me. This is how my series "You Have Small Braids Like Spider Threads" was born. One of my best from 2016!
---
│my life is a picture│ is a project documenting my life which I publish on blogspot:
mylifeisapicturebyangelikaejtel.blogspot.com/
and instagram:
Lots is happening behind the scenes in a yard like this
Wow
There were 4-5 roosters here and a bunch of hens
What I didn't notice before I came home was the mocking that had been going on among the hens, some of them had no feathers around their necks at all
Poor ones
Hard life
Good eggs though
That cabin was a wonder! Wherever I stood, I saw hundreds of possible scenarios. Behind me on the balustrade, I had the best time ever dancing.
This is where I shot my series titled "In The Wildly Dancing Blood".
Here is the setting I tried to arrange using a stylish lamp I found in the cabin, and a little wooden furniture. I also attached light white fabrics in the window to create kind of soft feel.
I'm very attracted to everything wooden, and even though it was quite cold that morning, I tried my best to be creative regardless of uncomfortable weather conditions.
I made my kitty travel with me. I wanted her to have little holidays, too. As always, she was very active checking on everything I touched or moved. It happened that she appeared later on my pictures without my permission, of course.
Here's where and how the magic happens, so to speak...
This is were I take most of my indoor pictures. Last year I bought this Ikea MICKE desk (it's meant for kids). It's small yet offers quite some place to store stuff. The thing I loved most is the metallic background: I simply use magnets to easily set wallpaper, fabric, scrapbook paper etc on it. It's just high enough for 1/6 scale dioramas.
In the big drawer I keep tiny elastics, tiny hairclips, painter tape, everything that is usefull and I always need asap. Like that brush I use to dust the doll's face just before her close-up.
In the small one I keep the floor carpets so they remain flat all the time.
On the upper shelf in plastic boxes I keep all the little props (like re-ment, dishes, cushions, plates, etc) I hate how it looks (I love nothing more than an empty shelf) but I must admit it's very handy to have these under hand at all time.
Between those is my 'reflector' it's a faux mirror I once found in craft store, it's very practical because it's small and flexible so I can redirect the light as I want.
Now you see were all the little pets spend most of there time when they are not with their mistresses. I keep them all there so I don't lose them and can grab them at anytime. (Remember Sindy had a kitty?...well he's not there because I kinda lost it...that's why I do this now)
Behind the door I keep my structures and panels like wood floors, windows, walls, etc.
You see I also have a big studio light umbrella. I have two but it takes too much place in my small room so I don't leave them there all the time (again that certain need of emptiness of mine). But when I need a fully indoor lighted scene, I need both of those + 2 or 3 table lamps that I put as close as possible to the doll(s) face(s).
Now about the making of the Momoko pictures of yesterday, you can see how I set it up, and here's a little making of:
Keep in mind that I'm not a real pro photographer, I learned everything by myself and still learning as I go, also English is not my first language so you can imagine my technical photographic explanations might sound strange)
(My camera is a Nikon D5600)
I made this series when it was dark outside and the only light source was the table lamp on the right on the desk. The bulb inside is a 15W LED in cold light (4000k), it's close to daylight. I put a double layer of pattern paper around it to diffuse the light, so it doesn't fall harsh on Momoko's face.
When indoor, I always use a tripod and the timer of my camera as I don't trust my shaky hand.
For this picture the 'white balance' on my camera was set on auto and the following settings:
ISO 100 and aperture priority (I barely ever change these two)
f/3,5 : when there is so little light you can't open the camera lens much more than this because the light areas will be burned and the dark ones will be two dark.
This mean I couldn't obtain a very blurry background, as I couldn't set the aperture to let's say f/1,8.
I usually close the blinds on the right window as the light come directly in front of the camera and ruins the lighting of the set. But I keep them open on the window on the left.
***
Before I had the ikea desk, I was using a coffee table against the radiator, so I was already using the easy background + magnets solution. But I was always down on my knees and it was very uncomfortable. (And I don't get any younger you know...)
I love seeing others' photo set ups, so when I started using an invisible doll stand I thought I'd add pictures.
First I posed the doll. Then I tied fishing line to a large straight pin and stuck it into the doll's head. I held the line to my rig with tape. The tape held sufficiently long for photos, but I returned later and dolls had fallen.
I have no idea what my rig origins were, but it is a sturdy piece of metal tubing, formed in this shape when I came across it. I only showed the right side of the rig, the left is the same.
Thank you to everyone who has previously posted photos like this for providing so much inspiration!
© 2014 Eric Adeleye Photography. All rights reserved.
Behind the scenes from my photo shoot with Bonnie-Lynn (www.facebook.com/bonnie.lynn.7374). Tommy Penny is assisting me, holding the Westcott 20" Rapidbox with the SB-700 speedlight.
Follow me on My Website | Google+ | Twitter | Facebook | 500px | Pinterest | Model Mayhem | Instagram | Behance
580EX shot through umbrella triggered with Alien Bees CyberSyncs. Silver bounce in front and below. Backlit by the warm summer sun.
A behind the scenes look of my shoot with Rachel. Couldn't have done this one without an assistant!
See the original HERE.