Experimenting with Tulle
Apr 8, 2018 13:11:49 #
I did a photoshoot with a lovely young lady who has been my go to practice model since I began 5.5 years ago. She was 11 and now she's 16. We are both learning and growing together. During this shoot I decided to put a piece of tulle around my lens to see what kind of effect it would have. I know this was a trick that has been used in studio portraits many times. SOOC it did appear hazy, but I have been working on my post processing skills as much as my shooting, so this was my favorite out of the bunch. The second one is without the tulle. I really like the way the tulle added just the right amount of softness without making the photo soft. For both of these, I used a 48 inch octo box camera left feathered. She is sorta wrapped in a white v flat on her right side. There is also a gridded rectangular softbox on her right side behind her. Also used a fan for the first time ever.
Apr 8, 2018 21:52:35 #
Alissa!
Lovely work! Great lighting, poses, and expressions and perfect use of the hands on the second shot.
The use of tulle and otere netting-like fabrics have been some of my favorite diffusion methods for many years. It's amazing how theses fabrics can produce effects that are unlike and oftentimes better than those made with expensive diffusion filters and specialized lenses.
Black netting of various weaves will give you different degrees of softness without degrading the image. In fact, Tiffen manufactured a series of filters that were made of simple netting sandwiched between the glass. Dark gray and black hosiery material also when stretch over the lens. All of theses methods can cost a bit of contrast so you may want to experiment by using a higher lighting ratio. Another variation is to stretch the fabric across a frame and burn a hole about the size of a dime at the center. Shooting at wider apertures works best.
When the motion picture "Fiddler of the Roof " was in production, the director photography,Oswald Morris, was working with all the major filter manufacturers to come up with a filter that would give the film that old world kinda appearance. None of them could come up with exactly what he envisioned. After some experimentation he ended up finding a certain brownish shade of pantyhose, when stretch over the matte-box of the Panavisoon 70 camera was right on the money. They purchased cases of this hosiery to ensure that the would have enough on hand to finish the production. Oswald won an Oscar for his work on that film.
It's embarrassing, I am always going through the selection of pantyhose at a local variety store- they have the best selection. The manager always has to tell me that "they don't make them in my size"- his sense of humor. Finally he gave me those little swatch things with all the shades so I can send my wife to pick them up.
Keep up the good work and post often!
Lovely work! Great lighting, poses, and expressions and perfect use of the hands on the second shot.
The use of tulle and otere netting-like fabrics have been some of my favorite diffusion methods for many years. It's amazing how theses fabrics can produce effects that are unlike and oftentimes better than those made with expensive diffusion filters and specialized lenses.
Black netting of various weaves will give you different degrees of softness without degrading the image. In fact, Tiffen manufactured a series of filters that were made of simple netting sandwiched between the glass. Dark gray and black hosiery material also when stretch over the lens. All of theses methods can cost a bit of contrast so you may want to experiment by using a higher lighting ratio. Another variation is to stretch the fabric across a frame and burn a hole about the size of a dime at the center. Shooting at wider apertures works best.
When the motion picture "Fiddler of the Roof " was in production, the director photography,Oswald Morris, was working with all the major filter manufacturers to come up with a filter that would give the film that old world kinda appearance. None of them could come up with exactly what he envisioned. After some experimentation he ended up finding a certain brownish shade of pantyhose, when stretch over the matte-box of the Panavisoon 70 camera was right on the money. They purchased cases of this hosiery to ensure that the would have enough on hand to finish the production. Oswald won an Oscar for his work on that film.
It's embarrassing, I am always going through the selection of pantyhose at a local variety store- they have the best selection. The manager always has to tell me that "they don't make them in my size"- his sense of humor. Finally he gave me those little swatch things with all the shades so I can send my wife to pick them up.
Keep up the good work and post often!
Apr 8, 2018 22:18:41 #
Thank you so much Ed. Wow..I am humbled by your response.
And now I am going directly to the store to go buy pantyhose in all colors!! Lol I am so inspired by what you just told me, I can't wait to keep experimenting with the hose. It was just a fun little experiment at the end of my shoot remembering that I had read somewhere that sometimes photographers do this to create some effects. Looking forward to my next shoot now!
And now I am going directly to the store to go buy pantyhose in all colors!! Lol I am so inspired by what you just told me, I can't wait to keep experimenting with the hose. It was just a fun little experiment at the end of my shoot remembering that I had read somewhere that sometimes photographers do this to create some effects. Looking forward to my next shoot now!
E.L.. Shapiro wrote:
Alissa! br br Lovely work! Great lighting, pose... (show quote)
Apr 9, 2018 06:44:33 #
Wow - this is really nice work. And I do mean WORK! Good portrait photography is so much more work and technique than people give you credit for. And what a great discussion.
Apr 9, 2018 07:37:50 #
thank you so much. I do agree with you about the work part. I don't shoot and practice everyday, so I still have my head exploding during a shoot on how to capture the most flattering angle, what to do with the hands, how to get a great connection from the model, what about the body....etc. I have truly been studying online and I am happy with my progress but I still have so much to learn!
sb wrote:
Wow - this is really nice work. And I do mean WORK! Good portrait photography is so much more work and technique than people give you credit for. And what a great discussion.
Apr 9, 2018 09:17:33 #
Both shots are superb. I've used many techniques to soften my portraits from filters to fabric. Had a Shade + (I think that's what it was called) for my RBs and used black plastic window screen in the lower half to vignette the bottom portion of a low key portrait. White or black tulle will give different results. Always fun to experiment. Sweet 16....my goodness. 
Apr 9, 2018 11:48:11 #
I know..can you believe 16. She has always looked older in all my photos and so talented too.
Thanks! I am really looking forward to experimenting with fabric now. I love how diffuse it makes the image.
Thanks! I am really looking forward to experimenting with fabric now. I love how diffuse it makes the image.
Photog8 wrote:
Both shots are superb. I've used many techniques to soften my portraits from filters to fabric. Had a Shade + (I think that's what it was called) for my RBs and used black plastic window screen in the lower half to vignette the bottom portion of a low key portrait. White or black tulle will give different results. Always fun to experiment. Sweet 16....my goodness.
Apr 10, 2018 18:14:00 #
Apr 10, 2018 19:18:00 #
I was thinking about what you said about Fiddler. That is so interesting. I think when I started out photographing only about 5 years ago, I started looking at the world differently. Started seeing colors, shadows, light in ways I hadn’t before. Then suddenly I realized that all the principals of Photography apply to film too and started seeing that differently also. I realized that they color grade film for mood and tone, etc. Now I will think about diffusing light (and you buying pantyhose. Lol). Thank you for the story. I really enjoyed hearing it.
E.L.. Shapiro wrote:
Alissa! br br Lovely work! Great lighting, pose... (show quote)
Apr 10, 2018 23:33:02 #
Hi again, Alissa! Thanks for your feedback!.
Let me relate another story.
I am a self admitted lighting/portrait lunatic! I have been at it all my life, studied under some wonderful teachers and worked very hard at my profession. At one point I thought that I was a major lighting “maven”! That is, until I landed a few assignments to work as a stills photographer on a number of feature motion picture productions and observed, first hand, the directors of photography at work. Those folks really know their onions and use techniques and methods that are little know to many portrait photographer but are certainly applicable. The main job of the director of photography is to interpret the concepts of the director and the writers into visual dynamics. They establish the mood by way of lighting, they determine camera positions and and lens usage and so much more of the aesthetics.
Funny thing, I never wanted to get into cinematography per se but the lighting and optics always drew my attention. I learned many innovative techniques during my time on the movie sets and ever since I am a devoted subscriber to the American Cinematographer Magazine where there are many articles on lighting schemes.
My wife has only one complaint- we have to see each movie twice, once for me to study the lighting and the second time to enjoy the story.
When I explain my lighting techniques to wedding clients, I just promise “lighting like in the movies” and the get the idea.
If you are interested in advancing you portraiture, if you are in the New York City metropolitan area, you might investigate joining the Professional Photographers of America- the P.P. of Greater New York branch. Years ago they were the Long Island P.P. of A. group and the caliber of the members and the teachings going on there was top rate.
Ed
Let me relate another story.
I am a self admitted lighting/portrait lunatic! I have been at it all my life, studied under some wonderful teachers and worked very hard at my profession. At one point I thought that I was a major lighting “maven”! That is, until I landed a few assignments to work as a stills photographer on a number of feature motion picture productions and observed, first hand, the directors of photography at work. Those folks really know their onions and use techniques and methods that are little know to many portrait photographer but are certainly applicable. The main job of the director of photography is to interpret the concepts of the director and the writers into visual dynamics. They establish the mood by way of lighting, they determine camera positions and and lens usage and so much more of the aesthetics.
Funny thing, I never wanted to get into cinematography per se but the lighting and optics always drew my attention. I learned many innovative techniques during my time on the movie sets and ever since I am a devoted subscriber to the American Cinematographer Magazine where there are many articles on lighting schemes.
My wife has only one complaint- we have to see each movie twice, once for me to study the lighting and the second time to enjoy the story.
When I explain my lighting techniques to wedding clients, I just promise “lighting like in the movies” and the get the idea.
If you are interested in advancing you portraiture, if you are in the New York City metropolitan area, you might investigate joining the Professional Photographers of America- the P.P. of Greater New York branch. Years ago they were the Long Island P.P. of A. group and the caliber of the members and the teachings going on there was top rate.
Ed
Apr 11, 2018 06:08:16 #
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