I have minimal experience with motion pictures. One good exposure is difficult; 24 of them severely so; 24 per second, for minutes or hours is beyond me. But I am acquainted with some of the basic: requirements:
- The traditional CinemaScope aspect ratio is an extremely wide 22:9 aspect ratio.
- Use of relatively low contrast to keep detail in highlights and shadows is combined with color grading to provide visual interest. Reducing the contrast so ambient light isn't a problem can make the image quite flat; adding color in post is now standard.
- If light is to be added to the scene, hard light - usually in the form of a fresnel - is more common, especially outdoors. Providing soft light to a large area requires far too much bulk and far too much power, especially with traditional halogen lamps.
I live near a minor switching yard that backs a frontage road, so I figured I'd use the trains as a convenient backdrop; they provide visual interest and create a narrative. Unfortunately, my friend and model was late from work and the sun had nearly set; the ambient blue cast of the sky was as unappealing as it was dim. I put a flash on a light stand for the traditional hard light.
Traditionally, one has the subject look into the frame. However, since we're trying to create a sense of unease and the (presumably horrifying) source of light is out of frame, I put the subject on the left of the frame, pointing left, and got this:
Traditionally, one has the subject look into the frame. However, since we're trying to create a sense of unease and the (presumably horrifying) source of light is out of frame, I put the subject on the left of the frame, pointing left, and got this:
Not great, is it. I underexposed the sky to get some color , but the end result is quite messy and full of dead space.
But this is a 2x3 sensor; we crop it down to 22:9 and lose most of it:
But this is a 2x3 sensor; we crop it down to 22:9 and lose most of it:
Somewhat better. Next, I pull down the highlights and push up the shadows while reducing the contrast so more of the image is visible.
And now, for the magic part - grading. A few curves adjustments and some color alterations to provide a more pleasing color palette, and you get this:
I've done worse.
Wow, you are very passionate about photography, and you seem to understand it (based on your description). This is a great picture. I am not quite sure what is the narrative of the photo, but it shows a sense of anguish (sorrow maybe) and distress based on the model's facial expression and position of the hands.
ReplyDeleteI really enjoyed this image and I like the way that you broke down your process of editing your image. Personally I feel the overall outcome of this image does a great job of creating a fabricated fiction. Great photograph!
ReplyDeleteThis is such an intriguing picture! I like the attention payed to where the light source was and how you were able to really use it to make such a nice photo.
ReplyDeleteGreat use of the train as a backdrop. Plus the placement of the model is also well chosen to creat interest . Great work!
ReplyDeleteOh my goodness I love that you took the time to dissect your editing process for us! I love the outcome and I do think the contrast adds a lot to the action and intensity emotion of the photo. Well done
ReplyDeleteI really enjoy the color in the photo. The light truly draws the eyes to the subject and the train gives me the impression something horrible has happened further up the tracks. Out of sight, yet in the mind! You can detect some sense of motion due to the depth of field. It really gives the impression of someone or something being hit by a train. Nice work.
ReplyDelete