Category: Strobist


International Model Jacinta Rockich

Jacinta and I have been meaning to work together for a very long time now having known each other from the beginnings of both our careers.  So a couple of weeks ago we managed to finally both be in town, and both had a bit of free time, so we made it happen!

I recruited Jacinta to be the new Perth Street Car Magazine feature model which will be in the April issue of the magazine, but on top of that we also had some fun in the pool and got a little creative with gelled speedlights, some smoke and a hose. The photo above is the product of  all that. I hope you like it!

THE LIGHTING SETUP:

This particular shot was taken with just 3 lights.

An Elinchrom ‘A’ Head fitted with a 100cm Deep Octa powered by my Elinchrom Ranger RX Speed AS battery pack was my main light. It was positioned front and centre just above the frame of the picture, and about a metre and a half in front of Jacinta.

On the left, level with jacinta was a 430EX Speedlight with an Lumiquest FXtra gel holder and a red gel placed inside. This was set to about 1/8th power. Directly behind Jacinta placed nice and high way out of frame was a Canon 580EXII on about 1/4 power. This 580 had a turquise hel placed over it and was aimed directly down at Jacinta and the water, firing through a beam of water being sprayed by a hose I mounted at the back of the pool.

 

THE POST PRODUCTION

As per usual I imported the images into Lightroom 3, and made my colour correction and white balance adjustments. I then used a collection to store a few of my favourites, this being one of them(above). So I then exported this image to Photoshop CS5 for some further adjustments.

I used some advanced frequency seperation techniques that I’ve customised to clean up the skin which took very little work on Jacinta. She has beautiful skin with hardly any imperfections.  I added the tinest bit of light to her eyes and lips to make them pop. The key with the eyes is to be subtle about it. A little make a big difference. The eyes are one of the most common mistakes photographers make in retouching photos.

I dodged and burned the highlights/shadows respectively for extra contrast and then applied a very gentle colour gradient across the image from left to right to complement the colours from the speedlights in the photo. Red to turqoise.  To finish it off I added some sharpening using a special technique with a mask. The mask allowed me to remove too much sharpening from places where I didnt want it such as the skin.

Fairly simple really, but done properly with a model like Jacinta and it turns out just superb!

Definitely more from this set soon!

B.

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Before & After Photoshop Composite

This is one of my favourite composites that I did for one of my clients Top Shelf Entertainment. It was part of a series of images I had to do for the launch of their new website. Originally this photo wasn’t meant to be a composite, I was simply going to utilise the gritty concrete wall but after some further consideration we decided to turn these into some more creative and visually interesting composites!

Thanks to Photoshop, extracting someone off a background is fairly easy these days, but it still requires you to know what you’re doing and I’d definitely shoot it on a grey or plain background if I had the choice.

 

TAKING THE PHOTO:

So lets look at the lighting setup first. I had two big softboxes setup behind my subjects. They were 120 x 80cm sotboxes from a very old Visico studio kit I purchased years ago. being a location shooter I never invested any further in studio lights, I opted for battery powered packs instead. The lights these softboxes were attached to were also Visico, and were capable of about 400 WS each. These required power so I ran a couple extension leads to them from the kitchen of the warehouse we were at.  Now these two softboxes were my rim lights and I used softboxes so the light would wrap around my subjects a bit better. They were sitting roughly on a 45 degree angle to my subject.

Up front as my main light I had my Elinchrom Ranger RX Speed AS with one Action head firing through my  100cm Elinchrom Deep Octa rotalux softbox. I had it positioned fairly high and angled downwards.

Ninja Photo Composite Lighting Setup

I chose the 100cm Deep Octabox over the larger Octaboxes because for male models I don’t want the light to be too soft. If the light source is too large and soft then it will fill in all the shadows around the subjects muscles and you will lose all that definition that you really need!

Lighting Setup for Ninja Composite

 

CREATING THE COMPOSITE IN PHOTOSHOP:

Unfortunately I don’t have time to go into all the details but I’ll run through the basics. I started off by using some various techniques to extract as much detail from the photo as I could and then proceeded to clean up the image such as a lot of the creases in the clothing and also fixing the shoes.

To place my ninjas on a different background, I didn’t actually cut my subjects out. I used a different approach. An approach where there is no need for any pen tools or selections or anything like that. How did you put them on a different background I hear you ask? Well I actually used a much different technique which works really well but only if you take the photo correctly. I originally learnt the technique off a friend of mine, German photoshop guru Calvin Hollywood.  The technique makes use of the blending modes offered to us in photoshop, more specifically the overlay blend mode. If you can shoot your subjects on a 50% grey background or at least as close as you can get to that, you can use this technique.

In photoshop, place your NEW background on a layer, above your original photo with your subject. Then simply set the blending mode of this top layer to overlay.  Yep, that’s it. So easy! So all the grey areas in your original photo will now be replaced by the new background image, at least it will look that way. The best part about this technique is that it retains the shadows created by your subjects in the original photo. If you look at my final ninja image, the shadows from the two ninjas were from the original photo! Once you perfect this technique it saves so much time. Obviously it isn’t a solution all the time. In this particular instance it didn’t work perfectly. I never intended to use this technique so we didn’t have a nice grey background, it was a very textured light grey background. So once I applied this technique in photoshop, I still have to create a mask and just mask out a few bits of the new background so it didn’t block my ninjas at all. Still much easier than having to cut them out.

Once that was all done I added some subtle colour to enhance the image. I applied a yellow to blue gradient across the image to establish each ninjas territory and help emphasise how they are clashing together.  Finally some dodge and burning and some sharpening and it’s pretty much done.

Thats all for now…

Brodie.

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Top Shelf Entertainment Mortal Kombat DuoPerth’s all-male entertainment company Top Shelf Entertainment have just launched their new website to a crowd of industry affiliates and special guests over the weekend at The Basement on Broadway in Crawley. As the official Top Shelf Photographer since their humble beginnings, I was there enjoying the social atmosphere in my spiffy new suit and it was a nice change from a solid few months of working.

We unveiled the website and launched it during the actual event and Leigh (Director) gave us a quick tour and showed off the goods the new site offers. The new website is a massive improvement on the last and offers so much more, not to mention it is sporting my photography on just about every page. Check out the Top Shelf Entertainment website here at www.topshelfentertainment.com.au

Speaking of photography…

I have spent the last few months working closely with Top Shelf. Photoshoots, endless phone calls and doing a lot of retouching and post production work. It’s been a lot of fun and we’ve got some great results. From what I heard at the launch party, all the boys are stoked with the results and everyone else seems to love them too which makes me a happy camper. I cant wait to do more.

The new website is part of their new approach to the industry and their enthusiasm to start 2012 with a bang. The website is far superior to anything else I’ve seen in their particular industry and it looks great.

From a small beginning in Perth, Top Shelf have already captivated Australia with their unique choreographed dance/strip shows and earned themselves a place touring Australia with Sexpo. I look forward to working them all again next year.

This photo above is for one of their DUO shows. (see website) We shot it indoors on a grey background and superimposed the background to make the composite. Combine that with a bit of brodiebutler.com magic and we get the result above.

I’m going to be posting more of these images over the next few weeks and maybe giving some insight and behind the scenes!

B.

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XT Forester photographed at midday

When is the best time to photograph a car? Well 5 years ago the answer from most shooters would most likely be just before sunset, or perhaps just after sunrise in the morning. Basically at that time of day (“golden hour”) where the light is a lot more appealing and complimentary. Anything else would be a slap on the wrist and a flat out no-no. I certainly remember starting out my car photography all those years ago under that rule.  These days however, things have changed. The strobist effect has taken over the world, and with that, I think it has changed the way we shoot. Not to say that people weren’t already doing it before, but now it’s become a lot more mainstream, plus equipment and knowledge is a lot more readily available and affordable these days.

This has made strobing cars with artificial light very common. In fact I can hardly think of anyone I know who is still shooting with 100% natural light.  Further to this though, due to the high powered battery and location lighting kits available today, and even the use of multiple speedlights, photographers are even shooting cars in the middle of the day under the harsh sun. Some photographers even prefer it, myself included. It achieves a very different look and feel, one that I really like.

Automotive Strobist lighting diagramThis image above was shot at 11:55am, so the sun is pretty much above us.  To be honest it was ever so slightly behind me.  I used 3 lights, which is pretty much the standard setup for shooting cars at this time of day. Since the sun is directly above, the only part of the car being illuminated is the roof of the car, and obviously the bonnet. So this means all the sides of the car, and all the underbody will be underexposed providing you expose for the roof. The resulting photo would be very contrasty and not very appealing. You can see an example of this in the first image below.  So obviously to fix this we need to use strobes to illuminate all of the car evenly. One light needs to illuminate the front grill of the car. The other two strobes will work together to light the side of the car which is facing the camera. The important part is to try and balance these lights so the car is lit evenly. This can be difficult and is one of the biggest mistakes photographers will make. There’s nothing worse than having patchy lighting on a car, which will in turn give you different shades of colour. On something like a red car this is deadly because you will find you get pink patches where the light is strong, and deep red where the light is weak.

Using the inverse square law you can help fix this. By moving the lights further away from the car, will help even out the distribution of light. The further the light is from the car, the larger the distance required for the light to continue to fall-off (get weaker). This means that by moving the light away from the car, it makes it easier to evenly distribute light across the whole car.  There’s a catch to this though. When you’re shooting a car in the midday sun, you are already going to be shooting on F16 – F22, which requires a lot of light from a powerful strobe, and now you want me to move the light further away?  For some shooters, especially those using speedlights, this might not quite be a viable way to shoot just yet. It does take a lot of power to pull this off. The sort of power you will find in Elinchrom Ranger and Profoto packs just to name a couple. Even the Alien Bees strobes could pull this off.  I used my Elinchrom Ranger RX Speed AS kit to do this, and one Canon 580EXII speedlight. (The speedlight was used for the front grill)

So here is a photo of my trusty Forester without any flash, shot at 1/125th second @ F16, ISO 100.

XT Forester during the day without Flash

As you can see the bonnet and roof are ok, and even a bit of the front grill, but the side of the car is completely underexposed and the photo doesn’t look very good at all.

Now lets take a look at a photo taken with the 3 light flash setup I described above…

XT Forester during the day With Flash

See the difference? It should be pretty obvious. The side of the car is now illuminated quite well and the contours of the car show up nicely. The front grill pops just that little bit more now too, not to mention the wheels!

The only modifiers I use when lighting cars is the basic bare reflectors on my elinchrom strobes. In the case of speedlights I don’t use any modifiers at all.  Being on location away from the studio, I prefer to stick to hard light sources. Not only does it give the cars more of an edgy look, but it makes it much easier to hide the reflections of the light sources in the car.  On a silver car this is a lot easier, but on a metallic black car you’ve got your work cut out for you.

TIP:  Watch your reflections!

The biggest problem with cars is their reflections. Not only do you need to find a suitable clean location which won’t dirty up the reflections on the car, but you need to be wary of the reflections of your strobes! Personally I cant stand having reflections in the car of my own lights, so I always do my best to position the lights in a way so I cant see the hot spots in the reflections when the lights fire. This can be tricky, and sometimes impossible to do. This is obviously why I don’t use big modifiers such as softboxes when lighting cars.

I’m going to leave you with a behind the scenes photo of my lighting setup for these shots above. I actually took these photos of my own car above while setting up for a magazine photoshoot with Danny Williamsons 750HP Nissan S15 Drift car. Here’s a peek at it below and you can see the actual images in the next issue of Perth Street Car Magazine due out in January I believe!

Danny Williamsons S15 Drift car photographed by Brodie Butler

Even though the car has moved a little bit from the actual shot, You can see the Canon 580EXII speedlight aimed at the front grill, and the two strobes powered by the Elinchrom Ranger pack are sharing the side of the car.

Happy shooting!

Follow me on twitter and facebook!

B.

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Brodie Butler Sunset Car Photoshoot

The one thing I love about Western Australia is the beautiful sunsets we get, even in Winter!

I took this shot above of my buddies car just over a week ago while we were on location shooting one hell of a car for Fast Fours Magazine (More on that later…).  Now get this, we actually finished the shoot and had time to spare! Thats just unheard of! Mind you we did have plans to continue the shoot elsewhere on another day, so we got what we needed for this day.

Anyway, we were done for the day, had more than enough frames of the feature car, but we had such an amazing sunset that we didn’t want to waste it. So thats when we decided to let one of my assistants sneak his not-so-clean car into position and snap off a few frames while we still had some light and the strobes were still setup. The photo above is what we made of that situation!

The setup was 3 lights, keeping it fairly simple as far as strobing a car goes. One strobe to camera left, one almost on-axis with the camera but slightly to the right, and then a third strobe way off to camera right.

I ended up being on ISO 200, F5.6 and I slowed the shutter down to 1/60th of a second to let a bit more of that ambient light (sunset) creep into the photo. The reason for the wide aperture was due to the fact I was shooting handheld and I didn’t wan’t to slow the shutter down any more. Looking back at it now, I probably could have stopped down to F8 for a tiny bit more focus (notice the back wheel is out of focus), and boosted my ISO to 400 but we were strictly against the clock with only a few minutes left of light and I didn’t want to stuff around. The shot worked out amazing in my eyes and thats all that counts! Oh.. The owner likes it too :) .

Ok.. one more…

Car Photoshoot

So anyway, just wanted to share an image with you. I have been so busy shooting video for various things that my still photography work hasnt been keeping up. Unfortunately the work I am doing is for clients or magazines and it has to be kept confidential. I’ll have more soon though I promise!

B.

 

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Perth singer Johnny Ruffo

Today I wanted to share a couple of images I did for Johnny Ruffo, a seriously talented Perth singer who’s in the middle of putting his first album together. I’ve been lucky enough to score a preview of a few of the tracks and I think Johnny will be someone to watch out for!  Not only can this boy sing, he can dance too so watch out ladies.  Read on for more photos and behind the scenes…

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Coloured Gels with Speedlights
At the tail end of a recent glamour photoshoot,  those of us involved started throwing a bit of creativity into the mix and this image above is what we came up with.  It was just a bit of fun and experimentation. There was no real story behind it we just all thought it would look cool with all the vibrant colours in the scene. Thanks to Elliot Vassila my assistant for the day who was sparking out plenty of great ideas.

Lets have a look at how I lit this shot…

Lighting Setup

Above is obviously the lighting diagram for the shot. I used a total of 4 lights. Two lights (powered by an Elinchrom Ranger RX Speed AS) to illuminate the model and two Canon Speedlights lighting the background. The key here is the coloured gels on the speedlights. I used the LumiQuest FXtra gel holder for my speedlights. It attaches really easily by velcro and they are flat so you can store them easily.  The gels slip inside the clear plastic holder and you just wrap them over your flash. I had a blue gel in one, and a yellow gel in the other, and these lit up the back fence.

Below you can see the product sitting on a Canon Speedlight. They actually come with a few basic gels too which is good, but you can always buy more.

LumiQuest FXtra gel holder

Below is a little video demonstrating the product.

This is just one of many gel solutions for your speedlights. I highly recommend it for getting creative. Here’s a couple other glamour shots that I have done using coloured gels.

 

Jennifer Kirt at the Brodie Butler Glamour Photography Workshop Carly Hanson Glamour Photoshoot

 

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Inside The Matrix with Top Shelf Entertainment

Thought it was about time to share another image with you all. I haven’t been out shooting as much as I would like lately. There’s been a lot of pre-production for a couple of video projects I’m working on, as well as a lot of post production catch-up at the desk. I still don’t have myself a new car either, so it’s also difficult to get out on shoots. Trust me, there is plenty of exciting new stuff to come very soon though! Photos and videos!

This image above of Ben Lee was taken a while back at a themed photoshoot for Top Shelf Entertainment. Ben is one of Top Shelfs very fit and talented dancers. I really enjoy being the official photographer for these boys because we get to create really cool themed images for their stage shows. The theme here is based on “The Matrix” and you can see the actual group image that made the flyers here.

This was just an individual shot I took towards the end of the shoot where I put my cinema eye to work. I really like these type of compositions which you may have guessed from my tutorial a little while back on how to give your images that widescreen cinema look (See it here). The compression and depth of field caused by the longer lens, and the framing just give it that “cinema look” and I’m such a fan. The cropping is obviously what completes it. This image is complete with the black letterbox bars that give the image inside a 2.35:1 aspect ratio, common to feature films.

THE TECHIE BITS:
This image was shot with 2 rim lights from behind Ben on the 45, both being large Softboxes roughly 90x110cm. I placed them just a fraction higher than Ben, aimed down just a fraction. Then there was a bit of fill light coming from in front of the model to illuminate his face. This was provided by a shoot-through umbrella, positioned up high out of frame, and just a smidgeon off to camera right. All 3 lights were studio strobes we dragged up to the roof of an apartment building in the city. A couple of 25m extension cables I usually have with me came in very handy on this shoot as the power source was a bit of a distance.

I took this shot at 1/100th second, at F9 on an ISO of 125. The camera was a 30D and  I was looking through a 70-200mm L IS 2.8 piece of glass which was racked out to 70mm.

You can click on the image below to see a larger version!

The Matrix Series - Cinema Crop

I would love to hear what you think!  If you like the image, I will post again with a before and after guide to how I retouched this image!

B.

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GPP 2011 Shoot-out from gulf photo plus on Vimeo.

At the annual Golf Photo Plus in Dubai they like to put a few professional photographers in a shootout challenge where the audience gets to see them think on their feet. They will often not tell the photographers who the model will be or how many of them there will be, and they only give them 15-20 minutes to produce a retouch an image to present.

This year Joey L and Zack Arias battle it out with live commentary from another great, Gregory Heisler. Gregory ends up taking part in the shootout as well.

Zack has posted an article on his blog explaining his thought process here: zackarias.com/​events/​anatomy-of-a-shootout-gpp-2011-with-joey-l/​

B.

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Perth Photographer Brodie Butler holding a Light MeterI am a flash photographer, or strobist if you will. I’m very rarely taking natural light photos anymore these days. So most of my work comes from light, that isn’t present until I hit that shutter button. Now that makes it very hard to compensate for. Well… harder than usual anyway. So a light meter is an excellent tool to be able to measure that instant burst of light so we can cater for it with our camera settings. But do we really need one? Here’s my personal reasons why I don’t need one. All reasons below relate to each other as well.

REASON ONE:
These days, with our LCD screens and histograms we have the tools to get by without a light meter. We can effectively take test shots and chimp on the back of the camera. I think a lot of people wouldn’t have bothered with photography if they didn’t have that LCD screen. So anyway… sure histograms are impossible to read accurately & they are only a guide, plus that LCD screen can’t give you an accurate rendition of your image… BUT they can guide you. They can give you a good indication and this is what I use a lot instead of a light meter. However, the trick is to know your camera’s LCD screen. I have a lot of experience with my camera and I know what results I will get on the computer based on what I’m looking at on the camera. An overexposed image on the camera might be a perfect exposure on the computer. An important tip to be able to do this, is to make sure you turn OFF the ability for the LCD screen to change its brightness automatically. This is a feature of the 5DMKII and other newer cameras. This can throw you off a lot and its very dangerous if you’re trying to rely on the LCD screen for your photos.

 

Fathom Swimwear Designer Carly Hanson

Carly Hanson and Jay Wells

REASON TWO:
I do actually own a light meter; a Sekonic L-358 which I’m holding up in the photo above. I have used it a lot before, and I often put it in my bag on shoots, but more so just because I have it.  I’ve never put it in my bag thinking, “I’m going to need that today”. If I ever have the situation where I need more room in my bag, the light meter is usually first thing to go.

I have been shooting with flash for years without a flash meter, and it wasn’t until early 2010 that I opened up my mind to the idea of having a flash meter. As I photographer I thought it was an important tool to understand how to use and explore the possibility that it might improve my workflow and/or my pictures. Plus there’s the fact it can give me an accurate measurement.

I actually found a light meter wastes time rather than saving time. Keep in mind this is my own personal scenario. Light meters could save plenty of time for others, especially those learning about photography and more importantly learning about flash for the first time. However since I have become so used to shooting without one, and I also have a pretty good feel for settings in most environments to the point where I can almost guess within a stop, I just feel I don’t really need one. I started out just learning how to read my LCD screen, and having a lot of trial and error, so I probably learnt the hard way but I still got there. If I had a light meter at the very start,  that may very well have been a good catalyst for my photography progress.

My light meter is calibrated to my camera, and it has given me accurate readings which proved useful at times, but I find there are other times where it gives me a number, and I disagree with it for the purpose of what I’m shooting. (This point continues in Reason Three below). One thing I do love about light meters though, is every flash reading you take gives you a percentage. This percentage tells you how much of the light from the flash is contributing to the whole scene. So if it is 100% then you know the only light in that scene is from flash. If it is 75% then you know that 25% of the light illuminating your scene, is from ambient light! It’s just a very cool thing to assist you, especially when you are trying to balance out the ambient light with your flash.

 

Karl Pearce using a light meter

Assistant Karl Pearce

REASON THREE:
I’m a big fan of Joel Grimes, an L.A sports portrait photographer, and something he said a while back really caught me.

“CAN A PERFECT EXPOSURE BE MEASURED?”

I mean, what is a perfect exposure?  Sure we can measure a value half way between black and white which is a “correct exposure” but as an artist is that really a perfect exposure to us? No light meter can tell us what exposure we want. I mentioned before that I sometimes disagree with my light meter, and thats because I have the creative vision, no tmy light meter.  Have a read of Joel Grimes’ short blog post on the subject HERE, I think it’s a very important viewpoint to consider on the subject. Joel states that as an artist adding drama and emotion into your photography, no light meter is going to tell you how that image should “feel”.

Also, part of my post production process involves tweaking the exposure & levels anyway, whether it’s in Lightroom for a quick edit or in Photoshop for the whole nine yards. I found whether I use a light meter or not I still play with my exposure afterwards. Plus with RAW files I have a lot of flexbility to be able to do these adjustments easily with no loss in quality. I never usually have to adjust more than 1/3 or 2/3′s of a stop though. So a light meter doesn’t improve that part of my workflow at all either.

Here’s another post that renowned photographer, blogger and instructor Scott Bourne made just recently. It’s titled “Do you really need a flash meter“. I think thats another interesting short read for you on this subject.


In The End…
It’s up to you. I think it’s a personal preference thing these days. Some jobs call for a light meter, perhaps a high-end studio gig shooting crucial things that have to be perfectly lit.  Light meters could be valuable to you in these situations. Especially if you’re using lots of lights. I think they are excellent tools to have, and I do still use one. You actually learn a lot from them.

However, I do get by without them, so if you can’t really afford one, don’t stress about it just yet. You might be better off saving for that new glass or that location strobe kit. I hope I blurted out enough to properly portray my feeling towards light meters. I don’t hate them, and I don’t want there to be any argument over using them or not. Just another tool we can use to help us along our path, and it’s up to you to justify whether you want/need one or not.

Do you use one and why?  Drop me a comment.

B.

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Perth Glamour Model Carla Boggis

What a refreshing start to my 2011 Glamour Photography. I had never met Carla before so apart from a phone conversation to nut out all the details I wasn’t sure what to expect. Turns out Carla was another one of those absolute pleasures to work with. She’s a very fun girl with a good sense of humour and gels with the camera very well.

I try to put a big emphasis on fun at my shoots, those that know me know I like to kid around all in the name of having fun. It helps brings everyones moods up and helps bring out the best in people. Don’t get me wrong though, not for one second do I ever forget what we are there to do, and with the help of my trusty assistants I stay very focused towards achieving the goal. Speaking of having fun, heres my assistant Jay and Carla striking a pose.

Jay Wells with model Carla Boggis posing for Brodie Butler

So while we still have some summer left we thought we would trek down the beach and soak up some sunshine. My white body can never have too much tan.  Swimwear was the obvious choice of clothing so Hayley from Cebiche Swimwear set us up with some of the finest bikinis from the latest Cebiche range.  She is offering a mid March special too of $50 off so get you butt to the website here!

Cebiche Swimwear photographed by Brodie Butler

This was a mid morning shoot. We were out on location from somewhere around 8:30am I think. Anyway the sun was starting to get fairly high and it was bright. So in comes the Elinchrom! 1100Watt Seconds of portable lighting juice. I’m referring of course to the Elinchrom Ranger RX kit that I have.  It makes shooting up against the sun a breeze.  Being the morning, we tend to get cooler colours and obviously a beautiful blue sky so I felt some nice soft light would compliment that nicely, and I threw up the 53″ Octabox as my main light.  The image above was lit with nothing but the Octabox overhead, and we used it along with a diffusion panel to block the sun so we didn’t get any nasty shadows. By doing this we could control the light reaching Carla and end up with this beautiful image of her.  By using the powerful Elinchrom strobe it allowed me to stop down my exposure enough to generate a nice deep blue sky.

Below was pretty much the same deal. If you look carefully you can see the round shadow coming from the right. That was the large diffusion panel, or scrim being held up to block the sun. (In high wind I might add) Then my good buddy Jay was lugging the Ranger over his shoulder and hanging onto the Octabox with his all his might to avoid floating off like Mary Poppins. Below is the magic result of that hard work. See a higher resolution version here.

Perth Model Carla Boggis posing for Brodie Butler

And here is a behind the scenes image for you…

Behind The Scenes with Perth Photographer Brodie Butler

TIP: When shooting outdoors in the bright sun, try using an ND filter or even a polariser filter to stop some of the light entering the lens. That way, you can use a shallower depth of field for a more pleasing image even though you are in the bright sun. So lets say you were at 1/125 @ F16  and ISO100 normally, placing an ND16 filter on your lens (ND16 reduces 4 stops of light) then you will be shooting at F4! (16 -> 11 -> 8 -> 5.6 -> 4) In Bright sunlight! A lot of people find the shallow depth of field shots desirable, especially for glamour photography so if you ever desire that effect in bright daylight then try this.

Big thanks to Jay Wells for his help and loan of his car on this shoot, and of course to Hayley from Cebiche Swimwear!

Happy shooting.

B.

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Tiffany Baker, Cinematic Ninja Assasin

I just love cinemascope. There’s just something about the ultra widescreen format that gets me all excited. Cinemascope for those that don’t know refers to a very wide aspect ratio cropping like you see above, usually around 2.35:1 (or 2.39:1) and is common to feature films you see on the big screen.  My interest in films has passed through into my still photography work and this is a perfect example of that. I like to create images that look like they could be from a movie. So this usually means having a cool concept to start with, then retouching and grading it extensively in photoshop, and spitting out an image with a cinemascope crop to give us what should look like something from a movie.

Above is Tiffany Baker, my Ninja Assasin. I have owned these two swords for a long time and I’ve been dying to use them for something ever since. I actually picked them up off a friend who was moving house and wanted to throw them out. I thought to myself… these would be great props for a shoot! So all this time later I finally found a use for them.

We did a bunch fo diffenent poses for this shoot but i tried to find the ones with more serious facial expressions. To me, without a good facial expression you have no picture. This one just made the cut so I popped it open in Photoshop and had a play.   Would love to know what you think! Perhaps I can address some of the photoshop elements in a future photoshop tutorial if there is any interest.

Here is the before image straight from the camera.

BEFORE Photoshop, Straight from camera

Here is a slightly larger version to have a look at:

Tiffany Baker Photographed by Brodie Butler

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Brodie Butler Photography - Sharing The Passion © 2010