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Shooting Winter and Snow Studio Portraits

I love shooting portraits outside on location but winter can pose problems. Changeable weather and short days don’t help but cold, wet weather are my nemesis. So perhaps it’s not surprising that I find myself spending more time in the studio at this time of year.

Being stuck in my studio doesn’t mean that I can’t also embrace winter and bring the outside inside. A great way to do that is to make it snow.

In the video below I walk you through both the lighting and Photoshop post processing.

[youtube]https://www.youtube.com/watch?v=g5QU9Jvc7v8[/youtube]

If you’d like to try my Photoshop Snow Action you can download it from https://www.gavtrain.com/?p=2490

If you’re after the falling snow in a can that I used for this shoot then check out the Snow Business store http://www.snowsupermarket.co.uk/falling-snow-c4/falling-snow-spray-in-a-can-p9

Three Must Have Portrait Props In My Studio

With the colder, darker weather very much with us here in the UK it’s not surprising that I’m finding the studio a much nicer place to work in then being on location. However the four walls of my small home studio can start to feel very limiting after a while so to avoid cabin fever setting in I have a selection of props to liven up my shoots.

The video below covers my three main types of prop and a few ideas on how I like to use them.

[youtube]https://www.youtube.com/watch?v=U4aPx8mbBAY[/youtube]

Sunglasses
Winter might sound like the wrong time of year to be on the hunt for novelty sunglasses but I find having a selection on hand can really help. On a very simple level it gives something for your subject to interact with but sunglasses can also become part of the styling of the shoot. With a bit of craft skills you can also transform a pair of dull, basic sunglasses into a fashion item in it’s own right!

Hats
Just like sunglasses a hat can be worn or held once again giving your model something to work with. Hats can add character, hats can add mood, hats can be fun. Hats with brims can cast shadows which can cause problems as the model moves but with a bit of careful lighting that can be used to your advantage.

Fabric
Random bits of fabric are the perfect thing to have in the studio. They can be pegged up as backgrounds or wrapped around your model as a an outfit. Sheer fabric can be placed over your subject to add mystery or moved around for a floaty feel

There are endless ways to add ideas to your shoots, props can really help at this is just a few ideas to get you started.

Best Focal Length for Portraits

Knowing the best focal length for shooting portrait isn’t as easy as it may sound. Different focal lengths give very different results, some more flattering then others. In this video I take the same head shot at several focal lengths and compare the results.

[youtube]www.youtube.com/watch?v=DGYqWULIUp0[/youtube]

Traditionally a 50mm lens (on a full frame camera) has been considered the closest to the human eye but generally I prefer headshots with 70mm or more.

As you can see in the comparisons above, zooming in (and therefore stepping back from the model) has a few benefits. The longer focal lengths give even tighter crops on the background and stepping back compresses the facial features. Of course there’s plenty of scope for creative portraits when shooting head shots with a wide angle lens but for most photographers, longer focal lengths are better.

Ambient vs Flash for location portraits

When it comes to shooting portraits on location I know many photographers who love to make best use of the ambient light. I also know lots of photographers who wouldn’t dream of shooting on location without flash. Although I prefer flash, I’m very happy to work with ambient light if it does what I need. If you’re undecided about moving to flash or perfecting your ambient shooting techniques then this video should answer a few questions.

[youtube]https://www.youtube.com/watch?v=UXA-vsOm-mk[/youtube]

I must thank the Gatwick Aviation Museum for the use of their location and the loan of the pilots outfit. Part of the reason for the look and location in these shots was to test out the venue and one of the outfits for my big Aviation Apocalypse workshop. Judging by what we learned on this shoot, the workshops are shaping up to be very exciting!

Flash

Ambient

Low Key Lighting

If you have a small or portable studio set up then low key portraits should be high on your list of “must have” lighting skills. Why? Apart from looking amazing, great low key lighting can be achieved with simple equipment against any dark background.

[youtube]https://www.youtube.com/watch?v=Ba1Hiq3w3kc&feature=youtu.be[/youtube]

As the video above demonstrates, black backgrounds are the obvious choice for low key shots but grey backgrounds work too. So what makes a shot low key?

An underexposed image is not the same as a low key image. Whilst a true low key shot will have the majority of it’s tones on the dark side it will also have a few areas of highlights too. Contrast is key and that needs lighting but how you get there is all part of the creative process.

Creating shadows with D.I.Y. Gobos

Placing an object in front of a light source will usually cast a shadow of some sort. In the studio, if the object is solid it’s known as a flag but if it’s full of gaps (or semi translucent) it’s called a GoBo and can be incredibly useful. The shadow cast by a GoBo is often used to add texture or shapes to an otherwise plain background but there’s more to GoBo’s then that.

GoBo’s can cast shadows directly on to your subject for dramatic effects or they can be used to give reflections of the light source a little more style. And you don’t need a fancy GoBo projector to do it. Fabric, glassware, twigs or even tinfoil with random holes in are just a few things you can find around the house.

[youtube]https://www.youtube.com/watch?v=_sBK4xFmF3Q&feature=youtu.be[/youtube]

One last thought. Many photographers will tell you that GoBo is short for Go Between because it’s something that goes between the light and the subject. Well, if that’s true why aren’t they called GoBe’s?

Four looks, one grey background

Sometime back I made a textured wall for my studio which I love but the most important thing about it is the colour. If you can only choose one background for your small studio then for me it’s always going to be grey. Why? Because with a little bit of lateral thinking and lighting knowhow a grey background can be black, white, coloured or grey (obviously).

[youtube]https://www.youtube.com/watch?v=PIoWwx-elCE[/youtube]

Grey
This is the easiest to do. If you only have one light get your model as close to the grey background and shoot away. If you want a darker grey simply move the model and the light away from the background. For a lighter grey you’ll need at least one more light. Scroll down to “white” for more info.

Black
Black is basically a very dark tone of grey so to make the standard grey go black you can do one of two things. Either move the model or light as far from the background as possible or move the light as close to the model as possible. An egg crate grid over the light can be used to reduce light spilling onto the background.
In a small studio the latter way is how I go, it does mean that the softbox ends up in the shot but if you watch the video you’ll see my Photoshop / Lightroom trick to hide it.

Coloured
For this you’ll need at least one more light. The extra light(s) is placed behind the model and a coloured gel is fitted. The background colour is from the gel but also from the light output. A stronger background light will give brighter colours which can bounce off the background and onto the edges of your model in a small studio. A lower powered light will created a background with darker, richer colours. It’s all about balance and experimentation.

White
This is the toughest to nail. Adding more light onto the background from the rear light makes the background record as a lighter tone of grey. Add enough light and the grey will be white. Add too much light onto the background and you’ll lose detail on the model. You can find out my tips for balancing light to get the perfect white background in this video.

Make a simple LED Background

All sorts of random things can be turned into an amazing portrait background but last year I was shown something called the Pixel Stick which looked amazing. It was a Kickstarter backed project that combined LED’s and long exposures in a way I’ve never seen before. Although the pixelstick was out of my budget the basic idea wasn’t.

My low tech LED stick took just a few minutes to make and worked amazingly. Take a look at the Adorama TV video I made with the spectacular Mark Wallace to see for yourself.

I’ve had loads questions all asking the same thing… How do you make my LED stick?

eBay proved to be the perfect place to start my search. There are loads of low cost LED’s on the market and I found a 2 meter roll of multi-coloured LED’s complete with battery box and controller for about £17.00.

Each LED is actually several coloured LED’s clustered together which turn on or adjust their brightness to change the colour. The controller is very basic but allows you to set the colour, brightness and any effects such as flashing or fading through the spectrum.

The LED strip is very flexible and sealed inside clear silicone (or something like it), so I found a spare bit of 1.8m timber and attached the LED strip to that. There’s adhesive on the back of the strip but I just used a few rubber bands to hold it place. Just make sure the bands don’t cover the LED’s!

Then it’s just a matter of attaching the batteries and choosing a mode. Some colours worked better then others as did some modes. The key as always is to experiment and have some fun!

5 FAQ’s (and answers) about flash meters

If you shoot with flash you may well be aware that speedlights and (increasingly) studio strobes come in either manual or TTL versions. If you’re shooting weddings, events or any sort of running and gunning photography, TTL is brilliant but for me manual flash teamed with a flash meter is how I like to work in the studio.

If you’re thinking a flash meter might be what you need to improve the consistency of you shots or you already have a flash meter but aren’t sure on how to get started with it, then I’ve got you covered.

[youtube]https://www.youtube.com/watch?v=UG4P-Odutr8[/youtube]

In the video above I cover the top 5 questions I hear from photographers and flash meters.

Can’t I just use my camera’s meter?
Do all flash meters work the same?
How do I trigger the flash and the meter?
Where do I point the meter?
Do I really need one?

My flash meter of choice is the Sekonic L-308S Flashmate. It’s about as basic as a handheld meter can be but it’s super reliable and excellent value for money. More information can be found over at Adorama http://www.adorama.com/SKL308SN.html?KBID=67338

Gavin vs Mark Portrait Challenge

A few weeks back I was honored to have Mark Wallace, my friend and fellow Adorama TV host, stop off at my studio for a couple of days. Mark has been travelling the world for the past 18 months or so and this was the first time in a long time that he’s been shooting in a studio.

Now you probably already know I love a photo challenge, so when Mark suggested a studio challenge I jumped at the chance.

The rules were simple. We’d both use the same studio, same single flash and photograph the same model. We set a 20 minute time limit to include planning and filming and would see each other’s shoot until the end.

Mark went first and you can see his video below.
[youtube]https://www.youtube.com/watch?v=L2aEN6UUDYA[/youtube]

I love what Mark did with the simple lighting and subtle editing. I was also blown away by the quality for the Leica especially as Mark had been telling me it’s probably not a camera that you’d choose for studio portraits

Once Mark was through, I got my turn.
[youtube]https://www.youtube.com/watch?v=FzQr3GTUrwg[/youtube]

It was great to try out an idea I had been thinking about for a while and as you can see, my image is totally different to Marks in almost every way. I went with a contrasty light, aggressive pose and bags of drama.

The “home advantage” really can’t be underplayed. Remember I was using my gear, a model I’ve worked with before and I had the props hanging around in my studio. Even so I think it says a lot about how the photographer adds to the image when two of us can come away with such different emotions from the same subject using the same light.

Most of all it was a huge amount of fun and that’s what photography should always be about!