{"id":2397,"date":"2013-10-01T10:15:22","date_gmt":"2013-10-01T15:15:22","guid":{"rendered":"http:\/\/siskinphoto.com\/blog\/?p=2397"},"modified":"2013-10-01T10:15:22","modified_gmt":"2013-10-01T15:15:22","slug":"bike-shot-in-the-studio","status":"publish","type":"post","link":"https:\/\/siskinphoto.com\/blog\/?p=2397","title":{"rendered":"Bike Shot in the Studio"},"content":{"rendered":"

I\u2019ve been working on the studio, no surprise there. I\u2019m finally happy with the current situation, while there\u2019s more to do, it doesn\u2019t have to be done now. I\u2019ve moved in the lights: 20 or so strobes, another half-dozen quartz lights and an armful of projectors. I think I have 10 tripods, not sure how that happened. Booms and light stands, umbrellas, soft boxes and light panels, and all the things that come from a life spent in photography. Of course the important thing now is to get the studio busy. That means shooting, and I just got a couple of new customers! I also want to rent out the studio and offer classes here. What I want to do in this blog is to show you the studio at work, shooting and teaching. Ginny Taylor-Rosner brought a few of her advanced student from Ivy Tech in for a motorcycle shoot. This entry has a lot of large shots; I hope you will follow it to the end. Here’s the studio plan:<\/span><\/span><\/p>\n

\"\"<\/a>It\u2019s easy to get large subjects into this studio, as you can see. I used a gray muslin on the back wall and black plastic muslin on the floor, so the set was really inexpensive.<\/span><\/span><\/p>\n

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The first thing I did was pull down white seamless along the side walls. I installed seamless holders on the side walls so that I could use them for very large reflectors with white paper, and so I could pull down black paper to reduce bounce light. It worked really well in this shot. In the shot marked Side Lights I only have the lights that are on the side seamless on, not the light on the front seamless. The light on camera left was placed at the front of the seamless to rake across the paper. This creates a very big light source. On camera right I place a light set at 750 watt-second at the back of the seamless. It spread across the side seamless and onto the diagonal seamless.<\/span><\/span><\/p>\n

\"\"<\/a><\/p>\n

I put another roll of seamless on a pair of seamless stands on a diagonal in front of the bike. Once again I used a strobe raking across the seamless to give me a big light source. This light was set at only 400 watt-seconds. You can see what this light added in the image marked Front Light. This image has the all three of the large light sources. It\u2019s important to have barn doors on the lights when you are bouncing light off seamless paper. The barn doors keep the light from spilling directly onto the bike and the background. I had to use cine-foil, black aluminum foil, in addition to the barn doors, for the front light because of spill light.<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

\"\"<\/a>

Only the light on the diagonal seamless.<\/p><\/div>\n

I made some small changes in the position of the lights that rake across the paper. It\u2019s much easier to move the lights than it is to move the bike or the paper. We also moved in a gobo (large black light panel) at the back of the bike to make the light on the saddlebag more even. Then I put a bare bulb light set at 200 watt-seconds, covered with a pale lavender gel, behind the bike. This added the highlight below the bike and put a little color into the background. If I\u2019d used a darker background we could have added more drama with this light. This shot is marked Last Light.<\/span><\/span><\/p>\n

\"\"<\/a>

Added a small strobe behind the bike. Bare bulb with a gel.<\/p><\/div>\n

In this shot, Final Set-Up, you can see the position of most lights in the set. I added the light panel in front of the bile late in the shoot. It helps to open up the tire and to even some of the reflection on the front of the bike.<\/span><\/span><\/p>\n

\"\"<\/a><\/p>\n

I was a little concerned about the density of the engine and the high light from the light behind the bike, so I made a couple of bracketed exposures. I used these captures to give me a little more control over these areas by using them as layers in Photoshop. I did a few other quick touch-up to make my Final Image.<\/span><\/span><\/p>\n

\"\"<\/a><\/p>\n

Thanks for visiting the studio here in the blog. If you\u2019re in Indianapolis give me a call and come by 317.473.0406. If you need to rent a studio I\u2019m ready. Special price for October: $275 for the day! I hope to have classes available in the next few weeks. If you need a private session let me know as well. The Portfolio Class is meeting on TUESDAY OCTOBER 15. This class will help you present your work. There\u2019s more information, and a sign-up link here<\/a>. I hope to see you soon!<\/span><\/span><\/p>\n

 <\/p>\n

Here are a couple more images from the shoot!<\/span><\/span><\/p>\n

\"\"<\/a>

Shot by Terry Pitman<\/p><\/div>\n

\"\"<\/a><\/p>\n

Don\u2019t forget about the classes at BetterPhoto and my books!
\n: An Introduction to Photographic Lighting<\/a>
\nPortrait Lighting on Location and in the Studio<\/a>
\nGetting Started in Commercial Photography<\/a><\/span><\/span><\/p>\n

\"\"<\/a> \"\"\"\"<\/a>\"\"<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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