Sacramento's finest
I had the pleasure recently of working with some of Sacramento's finest. Members of the Sacramento County Sheriff's office. I've been interested in making some portraits for them for quite some time my friend Rich who works for the department was able to set up an afternoon for us to make some images.
I recently had the pleasure of working with some of Sacramento's finest; Members of the Sacramento County Sheriff's office. I've been interested in making some portraits for them for quite some time. My friend Rich who works for the department was able to set up an afternoon for us to make some images.
Oficer Gallovich with K9 Cash
My goal was to make the deputy and officers look heroic, similar to the images I made of the female fighter pilots of Athena's Voice.
Deputy Reeve
I feel that it is important to come up with shoots that you assign for yourself. I've learned over the years that doing things for myself, which involve different technical and creative challenges, has helped me with my assignment work. Many times clients have asked me for images similar to ones I've done for myself. It's very risky to do new things for clients that haven't been tested and proven. I certainly don't want to go into a paid assignment, hoping my idea works. I want to have proven it out before on my own.
Oficer Phillips
Special thanks to Rich Carranza for setting this all up and Skip Jones for the assistance.
Gear used
Nikon Z6
Sigma 35mm Art Lens & 85mm Art Lens
Phottix Indra 500's
Photo Day On a Ship
If you enjoy going to Preston Castle, this will be right up your alley.
I am very excited to get all the details out about our exclusive photoshoot on a ship. After a long process of planning, I've worked up all the details.
I am very excited to get all the details out about our exclusive photoshoot on a ship. After a long process of planning, I've worked up all the details.
If you enjoy going to Preston Castle, this will be right up your alley.
Register HERE
On Photo Day, you can roam the Aurora ship and the grounds, while accessing all the non-restricted areas to get the perfect shot. Right now, I am limiting the number of photographers to 20. You may bring models/hairdressers/makeup artists, but will need to purchase a ticket for them. Please email me directly if you need a ticket for your talent, as there are a limited amount of discount tickets available for that purpose. Tickets are first come first serve.
If you get a sold-out message, please email me tim@englephoto.com
Session Schedule: 1/11/20 Anyone interested can come to my studio between 9 am - 12 pm for a pre-shoot planning meeting. This meeting will be a great chance to get your plan for the shoot in place. You can figure out what lighting gear you want to use. I will also go over what items I'm brining, some of which you will be able to use. Guests may bring tripods and battery-driven lights.
1/18/20 We will be starting on the ship at 10 am and should wrap-up around 2 pm-ish. It's about an hour (1:20) from my studio, and parking will be on a narrow road. Carpooling may be a good idea. Model details I am excited to have AVL IMAGE ACADEMY provide models, hair, and makeup for the shoot. I will provide a few models for general usage. I'm going to have some models dressed in clothing that will keep with the ship's style. I'll also have some models made up in a more high fashion look.
Bring water and a snack. There are restrooms, but no other services.
I will continue to monitor the weather as we grow closer to the date, I will provide updates (postponement/change in schedule) for the day of plans if the need arises.
Grid Iron Gladiators
For the past four years, I have been making (end of season) stylized images for some of the Casa Roble (Orangevale, CA) Varsity football players.
For the past four years, I have been making (end of season) stylized images for some of the Casa Roble (Orangevale, CA) varsity football players. I started making high contrast images on white and expanded to some on-field images two years ago. My goal was to make the type of images I wish I had as a player. These guys work very hard all year and it means a lot to me to make an image of this part of their life.
This year due to a scheduling conflict, I couldn't use the school's field, so I moved the shoot to my studio.
I wanted to continue with the white background style and didn't want to give up on the field look so after a quick trip to home depot and a purchased 12 by 8-foot section of artificial grass, I had a field style look in the studio.
I made two sets with two cameras. Set 1 had a white background, while Set 2 had the artificial turf. I wanted to be able to shoot them against the white background and then go straight to the turf set.
Set 1 was designed with four alien bee lights. For this set, I used grids and snoots to highlight different parts of the players. This style translates well with the high contrast black and white.
The camera for this set was the Nikon D810 with a Sigma 105 art lens.
For field set lighting, I wanted to replicate the look of a stadium light, so I started with 1 Indra 500 with a wide-angle reflector with grid high and directly behind the players. The second and main light was to camera left for that I used the Solas Strip Softbox with Grid. That was positioned fairly high and angeled down to minimize the spill on the ground. For the 3rd light, I used a 7inch dish with a 20dgrwe grid to camera left; I wanted that light to skip across the front of the players.
The last part of the look was a little smoke from the fog machine; it just seems to give it the depth I like.
All images were edited with the new Luminar 4
The camera was the Nikon z6 with the Sigma 85 art lens.
That in-between time
Last weekend I had my annual "photo weekend" with NCDC (Northern California Dance Conservatory).
Last weekend I had my annual "photo weekend" with NCDC (Northern California Dance Conservatory). My main setup was 3 Indra 500's. I set up a 4th light with a wide angel dish and grid way off to camera left. I changed the channel for that light and had a second remote on my D810 with a Sigma 35mm. I hoped to catch the in-between shot when the dancers were thinking about the pose they wanted to do. I only got 33 images with that setup, but I'm digging how it worked out.
Color Test
I received an assignment, and in the description, the art director requested super-saturated colors for all the images. The one thing about gels and colors there are a million different combos and saturation levels. So glad I tested, his version of saturation was WAY more than mine. These are the test that got us on the same page..
I received an assignment, and in the description, the art director requested super-saturated colors for all the images. The one thing about gels and colors there are a million different combos and saturation levels. So glad I tested, his version of saturation was WAY more than mine. These are the test that got us on the same page..
Light setup Phottix
Camera Nikon Z6
Lens Sigma 105
I am now shooting the assignment for the next two weeks.
Model: @trinwoodward
Cars & Gels
I had a fun photo outing with a local group on Tuesday. The location had some vintage sports car. Now I am NOT a car guy and don’t really shoot many. My plan was to take 1 light and blast it from behind the car and see how the light played.
I had a fun photo outing with a local group on Tuesday. The location had some vintage sports car. Now I am NOT a car guy and don’t really shoot many. My plan was to take 1 light and blast it from behind the car and see how the light played.
For the lighting, I used 1 Phottix Indra 500 with a 7” reflector and a 20-degree grid which I had from my Paul C Buff lights. The gels are from the ROSCO “Photo Lighting Kit” #23 orange gel.
Portrait Shoot Progression
Over the years I've developed a rhythm which allows me to get to know the model, as well as what type of lighting works best for them. This week was a prime example; Emily was in my studio for a portrait session, and while I've worked with her in the past, this was her first portrait session with me. My normal progression is what I like to call, “no make up, makeup, and lighting.” For the no makeup look, I normally just use natural light from an open door. Typically I shoot these on a black background. This allows me to really focus on the subject’s face and learn what lighting and lenses are a good match for them. Once I get these shots done, I have the makeup artist begin the model’s first makeup look. By the time I get the last image, it's typically something a little more complex with the lighting.
I receive many questions regarding my workflow in photographing new models and faces, so I thought I would address some of them. This post is only about photographing models from talent agencies or bookings directly with a model.
Over the years I've developed a rhythm which allows me to get to know the model, as well as what type of lighting works best for them. This week was a prime example; Emily was in my studio for a portrait session, and while I've worked with her in the past, this was her first portrait session with me. My normal progression is what I like to call, “no make up, makeup, and lighting.” For the no makeup look, I normally just use natural light from an open door. Typically I shoot these on a black background. This allows me to really focus on the subject’s face and learn what lighting and lenses are a good match for them. Once I get these shots done, I have the makeup artist begin the model’s first makeup look. By the time I get the last image, it's typically something a little more complex with the lighting.
First image made with no makeup. For this I used the Sigma 35mm.
In the progression of Emily's images, I photographed her with no makeup for the first set. I loved how her freckles showcase the natural beauty she possesses. Next, I have the makeup artist add to her look while still keeping it simple. I work fairly rapidly throughout all the different looks. For each set up, I may only spend about 10 minutes. My goal is to get 3 to 4 really strong images from each look.
During last round of makeup, I normally let the makeup artist do something they've been dying to try. It's always good to allow collaboration with your team. Having the hairstylist or makeup artist use their creative juices can inspire me as well. There are times that this collaboration has produced some of my best images. All the looks put together in this type of session typically take about a three and a half hours.
For this image the makeup artist did minimal makeup. I want these as close to there real look as possible.
Finally, the equipment I use stays pretty consistent. I use my Nixon D4 & Nikon D810. The lenses I shoot with 85% of the time are the Sigma 35mm f1.4 Art Lens and the Nikon 85mm f1.8. For the lighting I use Phottix Indra 500 with various modifiers.
If you have any questions, I’m always open about how I do, what I do, so please drop me a note.
Happy Clicking!
Tim
