Hasselblad XPan in NYC (II)

Hasselblad XPan in NYC (II)

Matthew Osborne Photography / Mr Leica

February 2016

 

Hasselblad XPan

For my second NYC photography workshop in January 2016 I focused on using available light on location to light a model. This was normally daylight during the day then any existing light sources we could find for the night shoots.  I chose not to carry lights and the heavier bulkier Hasselblad 501 medium format camera and instead took my new Hasselblad Xpan 35mm panoramic rangefinder camera.

The Hasselblad XPan has panoramic mode (24x65mm) and shoots two 35mm frames side by side and also the standard film negative size of 35mm (24x35mm). Here are some examples using the Hasselblad XPan in New York split by film stock.

XPan Panoramic Mode (24x65mm):

35mm Kodak Eastman Double-X (5222) / Cinestill BWXX

Hasselblad XPan + BWXX
Hasselblad XPan Panoramic Landscape
Hasselblad XPan + Cinestill BWXX
Cinematic Look - Hasselblad XPan
Hasselblad XPan NYC
Cinestill BWXX / Double-X 5222
Day Dreamer  - BWXX in NYC
Hasselblad XPan Street Photography
XPan City Lights

35mm Kentmere 100 Film

Brooklyn Bridge New York Panoramic
Brooklyn Bridge XPan Panoramic
Hasselblad XPan NYC Cityscape
Brooklyn Bridge - Xpan 2
Hasselblad Xpan Testing

35mm Cinestill 800T Film

XPan + Cinestill 800T Portrait
Cinestill 800T Film Landscape
Hasselblad XPan + Cinestill 800T

35mm Kodak Portra 400 Film

Hasselblad XPan Portra Portrait
Hasselblad XPan Cityscape
Hasselblad XPan 45mm
XPan in New York
Hasselblad XPan in NYC

 

XPan Standard (Crop) Mode (24x35mm):

35mm Kodak Eastman Double-X (5222) / Cinestill BWXX

Hasselblad XPan 35mm Portrait + BWXX
Hasselblad XPan 90mm Portrait
Hasselblad XPan 90mm Portrait

35mm Cinestill 800T Film

Hasselblad XPan 90mm Portrait

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New York Photography Workshop (2)

New York Photography Workshop (2)

Matthew Osborne Photography / Mr Leica

January 2016

Brooklyn Bridge New York Panoramic

New York Trip

As crazy as it sounds, I was back out teaching model photography in New York again this week. I’d never visited NYC before then to go twice within 4-5 weeks was quite a surprise! I feel very fortunate that was asked to go once let alone twice.

For my first workshop in New York I was teaching model photography using speedlights on location (mostly) and with iconic landmark backdrops (mostly). For this second NYC photography workshop I focused on using available light on location to light a model. This was normally daylight during the day then any existing light sources we could find for the night shoots.  It is one skill to create light but another to see existing light and visualize how it could light a model. This time we did not have to carry lights and stands so could work faster and lighter. With that intention, I decided to leave my beloved Hasselblad 501C medium format camera and monopod behind and instead used all rangefinder film cameras.

The recent purchase of my new Hasselblad Xpan 35mm panoramic rangefinder camera was no coincidence. I bought it quickly so I was able to take it with me to New York. On the first trip to New York I shot 6×6 film with the Hasselblad 501C and digital photography with the Leica M 240. I have been less than impressed recently with the Leica M240 CMOS sensor images for my model photography so decided to leave it behind and packed the older Leica M8 instead.

Camera Bag

  • Leica M8 digital camera body
  • Leica M6 film camera body
  • Leica M3 film camera body
  • Leica Summilux ASPH 50mm f1.4 lens
  • Voiglander Nokton Classic 35mm f1.4 lens
  • Voiglander Color Skopar 35mm f2.5 lens
  • Zeiss Biogon 25mm f2.8 lens
  • Voigtlander Super Wide Heliar 15mm f4.5 lens
  • Hasselblad XPan film camera body
  • Hasselblad XPan 45mm f4 lens
  • Hasselblad XPan 90mm f4 lens
  • Fuji GA645 medium format film camera

35mm Film

Amongst the high rise buildings of New York there is often less light when compared to say the open beach location I shoot at in Poland. As such I only shot one roll of ISO 100 film and that was on the last day photographing Brooklyn Bridge. For colour film I shot mostly 35mm Kodak Portra 400 and some old Fujicolor C200 plus a roll of Cinestill 800T. For black and white film I shot almost entirely with Kodak Eastman Double-X 5222 (aka Cinestill BWXX film), at both ISO 400 and ISO 800. Excited to see the results from all of the above!

Hasselblad XPan

I was super excited to try the new Hasselblad XPan 35mm film panoramic rangefinder camera. I bought the 45mm f4 and 90mm f4 XPan lenses. There is also a 30mm XPan lens but it is quite pricey and wider than I normally need.

Many purists write you should only shoot the XPan in panoramic mode (and not the standard single 35mm frame mode). To an extend I agree but in a real world situation and when traveling reasonably light the 90mm lens shot in standard mode makes for a nice portrait lens. I normally use and carry 35mm and 50mm lenses on the Leica cameras so the Hasselblad XPan 90mm gives me more reach and compression if needed.

The Hasselblad XPan is compact and easy to use. It is about the same weight as Leica camera body and lens but a little wider. I relied on the XPan light meter and used perhaps 50:50 the 45mm and 90mm lenses.

My only small complaint and observation at this stage with the XPan is if I load film and then want to change to a different film mid roll I can’t manually rewind so as such the film rewinds fully into the 35mm film canister. I then need a film retriever to pull the film leader back out so it can be used again. I realize it is probably not normal to swap film in a camera mid roll but I do it a lot with the Leica (and Nikon) film cameras.

Leica M8

I realized I don’t use my Leica M8 often enough. I enjoyed the crop factor that lets me focus tighter for portraits and the rich CCD sensor colours. I shot the M8 similar to my Leica film cameras so used it at a ‘normal’ ISO range (ISO 160-640 on the M8 range). I also enjoyed the sharper M8 images vs the M240 and Leica M9.  The M8 is still king for digital B&W photos for me (of the cameras I have owned).

Leica M6 and Leica M3

I took the Leica M3 and Leica M6 film cameras so could load one body with colour film and one body with black and white.  As it happened having the Hasselblad XPan too (and keen to use it) meant I did not need 3x 35mm film cameras.  As such after the first roll of colour film in the M3 I then left it out my bag for the rest of the workshop. I enjoyed using the Leica M6 and built in light meter and did not use my handheld Sekonic light meter at all meaning I can travel lighter still and work fast.  I also made use of the Leica M6 35mm framelines and swapped between 50mm and 35mm with the Leica M8.

Fuji GA645

I packed the lightweight and compact medium format Fuji GA645 as I thought I would miss the larger film format.  I only took a single photo and I think that was a cityscape!

Conclusion

It was nice to work lighter and faster due to a combination of small cameras with built in light meters and using available light on location.  I did do some strobist work in the apartment for an evening shoot to give a Hollywood glamour styling lighting with a single speedlight and DIY light modifiers only.  We experienced a 50-60% cancellation rate from the models again but with a lot of emailing we still had models each day to shoot with.  A big thank you to models Aubrey, Sara, Olly, Cat, Laura and Rozi for joining us.

Photography Workshops 2016

In 2014 I was teaching mostly in the UK and ran some small group workshops in London.  For 2015 I concentrated on teaching 1-2-1 photography tuition and taught both in the UK but also in Zurich, New York and Amsterdam.

For 2016 I will continue to teach 1-2-1 photography sessions both overseas and at home as requested.  Photography workshop costs vary on a number of factors so I now address each on a as requested basis.  I am happy to travel globally as long as the travel costs are covered.

For those of you that are unsure, I am normally asked to teach model photography workshops which includes providing the model(s) and showing you how I use light to illuminate the model on location.  I shoot both film and digital Leicas during the workshops but you can use whatever camera you normally use.

My website link below has a list of some of the photography topics you may want to cover during the workshop and each course is bespoke to your needs.

http://matthewosbornephotography.co.uk/Photography-Courses.html

NYC (II) Photos

I will post some of the New York photography workshop photos once processed.   Due to the different cameras I was using I will share posts by camera rather than all together.  Posts to follow include:

  • Leica M8 in NYC
  • Hasselblad XPan in NYC
  • Leica M6 in NYC

Here is a sample! Aubrey with my Leica M8

1-2-1 photography workshop - NYC

I still have the NYC (I) Hasselblad 501C photos to share.  I now have the colour film back from the lab so will share some 6×6 negative scans soon!

Sample! Tegan with the Hasselblad 501C

Hasselblad + Ektar Portrait

 

 

New York Photography Workshop

Mr Leica New York Photography Workshop

Matthew Osborne Photography
December 2016

New York Photography Workshop

I was fortunate enough to be invited to New York City to teach 1-2-1 model photography for a week. It was my first visit to NYC so I had a lot to look forward to!

After organising the models for the week the next step was to select camera equipment for the trip. Not a quick task!  As you may of gathered from some of my recent blog posts, the camera of the moment is still the Hasselblad 501C.  Taking the Hasselblad was a given as was my digital Leica M Typ 240.  I then wanted a second film camera as a backup so I chose the compact Fuji GA645. Being Mr Leica you may have expected me to pack a 35mm Leica M3 film camera rather than the GA645.  I’m currently enjoying the medium format film negative resolution so I wanted to ensure I always had medium format film body to shoot with.  If I had taken one more camera it would of been a Leica M3 but I was trying to keep it simple with less gear (believe it or not!)

Final camera gear for NYC

  • Digital Leica M Typ 240 camera body
  • Leica Summicron 50mm f2 v5 lens
  • Voiglander Nokton Classic 35mm f1.4 lens
  • Voigtlander Super Wide Heliar 15mm f4.5 lens
  • Hasselblad 501C 6×6 medium format film camera body
  • Hasselblad A12 film back (x2)
  • Hasselblad 45 degree PM prism finder
  • Hasselblad Zeiss Distagon 60mm f3.5 CF lens
  • Hasselblad Zeiss Sonnar 150mm f4 CF lens
  • Fuji GA645 645 medium format film camera
  • Speedlight, trigger, light stand
  • 5in1 reflector
  • Sirui carbon monopod

Film for New York

  • 120 Kodak Tri-X 400 B&W film
  • 120 Kodak Portra 400 colour film
  • 120 Kodak Ektar 100 colour film
  • Expired 120 Fuji Velvia 50 E6 colour slide film

Leica lenses

I selected the Leica M mount lenses based on their compactness.   50mm is my go to focal length and I wanted a small lens rather than dramatic result for digital test shots so I picked the Summicron 50f2 over the Summilux ASPH 50f1.4 or Noctilux 50f1.  The Voigtlander 35mm f1.4 is smaller than my f1.2 ASPH and the Voigtlander 15mm is super compact and great for landscapes and street photography.

Hasselblad lenses

I bought a few new Hasselblad lenses ahead of the NYC trip with a view to take them.  The Zeiss Planar 100mm f3.5 CF lens is sharp and compact but is designed to be best at infinity whereas my Zeiss Makro Planar 120mm f4 is designed for close up work.  As both lenses are a similar focal length I decided to return the 100mm Planar as I rarely focus to infinity with my portrait work.  The other lens I purchased was a Zeiss Distagon 60mm f3.5 CF lens to ‘replace’ both the Zeiss 50mm Distagon and Zeiss 80mm Planar for such trips.  The 50mmf4 Distagon is nice and sharp but distorts easily and the 80f2.8 Planar is not as sharp as my other Hasselblad lenses.  The 60mm focal length falls between the popular 50,80,150mm Hasselblad lens trio but is a real gem.  The 60mm Distagon is sharp wide open and seemingly distortion free. For my Hasselblad Poland model photography trip I shot almost exclusively on the 120mm Makro Planar lens and I found it pulled me in close for mostly head shots.  The Makro-Planar is my sharpest Hasselblad lens so would be the obvious lens choice but I wanted to mix it up a bit so instead packed the Zeiss Sonnar 150mm f4 lens.  The Sonnar will give me a different look and also more compression in the images.

The trip

I was based in mid town Manhatten, NYC so most photos were shot in the surrounding areas.  We tried not to travel more than 30 minutes to location shoots to avoid wasting time between models and also did some photos inside the apartment. Models were a mix of agency models, freelance and hobbyists and all were new faces to me.  I tried to select a varierty of looks to make the resulting photos as interesting as possible. A big thanks to models Tegan, Morgan, Melanie, Rozi, Stevie, Ashley,  Zohra, Desi, Olya and Hope.  We would have had perhaps double the number of models but experienced a high rate of cancellations for a variety of unforseen reasons. As such, some models came back for a second shoot and we also photographed some New York street scenes and landscapes to include in the photobook that will follow.  I enjoyed the printed Hasselblad images I made after the Poland model photography trip so look to print more photos going forward.

The NYC photography workshop

In addition to having the opportunity to shadow me while I worked I covered model photography by available light only, using a reflector,  using a single speedlight off camera as a key light, as a fill light and as a rim light both with and without light modifiers, using two speedlights, using coloured gels, mixing speedlights with continous light, on location and in a indoor environment.  I explained why I selected a certain lens for a situation, how coloured lens filters can impact black and white film, how film developing will impact the look of the developed film negative, my choice of film, aperture and shutter speed selection to balance the light. For models I explained the choice of clothes, hair, makeup, girl, and selecting a look for a certain location.

Voigtlander Nokton 35mm Bokeh

Thoughts after the trip

If I was asked to teach in NYC again I would pack my Leica M3 for low light available light photography.   I wished I had a tripod for the Hasselblad with me for such ocassions as when shooting colour film my low light limit was ISO 400, f3.5 1/60 or at 1/30 with risk of camera shake. If it was the M3 I could shoot at ISO 400, f1-1.4, 1/15-1/30 easily and be much more mobile too.  Another option is my Mamiya 645 Super with f1.9-f2.8 lenses (fastest) and it can be used handheld at 1/30 if careful.   I really hope the Cinestill guys manage to get 120 Cinestill 800T onto the market as it really would be the perfect film in such situations. Other than that I was really happy with the camera choice.

The Hasselblad was so much fun to use the poor Fuji GA645 didnt even get out my camera bag.  In Poland I shot the Leica M 240 with available light only and I found the images fairly uninteresting.   Using the M240 with strobes definitely helped me to enjoy the resulting photos more so I will try to fit in a speedlight for all my future model photography trips.  I am interested to see if the flash lit model photography images in NYC have more of a fashion look to them than when just using available light.  I would expect them to.

Hasselblad Film Fashion

I am working my way through developing and scanning the Hasselblad black and white film negative images so I will list a separate gallery blog post once I have enough pictures to share.  I will send the colour film to be lab developed when I get chance too.

Hasselblad has been busy!

Here is a taster!

Hasselblad 501C + Zeiss Sonnar 150mm f4 lens

Hasselblad Model NYC

Zurich Photography Workshop II

Zurich Photography Workshop II – August 2015

Matthew Osborne Photography / MrLeica.com

Model Photography Workshop

Back in UK after another fun three day photography workshop in Zurich, Switzerland. The workshop content was specifically female model photography using digital Leica cameras and a range of film cameras including Leicas. We shot with mostly available light but combined some strobes and daylight also. All photoshoots were in Central Zurich, outdoor on location and we tried to minimise travel during sessions so not to waste time.

I managed to pack five cameras in my hand luggage to take but then realised my bag weighed 11 kilo so had to leave the weighy yet compact Fuji GF670 behind.  Zurich has amazing architecture so I wanted to take some wide angle lenses but also two 50mm lenses, one for each Leica camera body.  I packed my latest lens purchase,  the light and compact Zeiss ZM Sonnar 50 for the Leica M3 instead of the  Leica Summicron 50mm f2 DR I normally use.

Camera Gear

Leica M Typ 240 digital camera
Leica M3 single stroke – film camera
Leica Noctilux 50mm f1.0 v2
Zeiss ZM Sonnar 50mm f1.5
Voigtlander Color Skopar 35mm f2.5
Zeiss ZM Biogon 25mm f2.8
Voigtlander Super Wide Heliar 15mm f4.5
Nikon F4 SLR film camera
Nikkor 60mm f2.8 Micro
Fuji GA645 medium format film camera
Film & Filters

Camera Film (135 & 120)

Ilford Pan F 50 B&W
Ilford FP4 125 Plus B&W
Kodak Portra 160
Kodak Portra 160VC (Expired)
Kodak Portra 160NC (Expired)
Kodak Ektar 100
Fuji Velvia 100f (Expired)

Models

We worked with different models each day.  Some agency models, some not, some familiar faces and some new ones.  We did two shoots where we had two models with us at the same time so that gave us the oppotunity to pose the girls together.  Nadja and Joelle where good friends so planned for matching outfits for each of the four looks we did.  Laura and Stephanie were also close friends but most of their photos were individual and styled very differently. Big thanks for Joy, Nadja, Joelle, Laura, Stephanie and Sarah for helping make the workshop possible.  Lots of fun and I hope we get to meet again some day!

Digital Photos

A few sample images using the Leica M 240 camera from the photos I have gone through so far –

Leica Noctilux Portrait

Leica M240 + Noctilux

Model Photography Workshop

Zurich Photography Workshop

Film Photos

First of the black and white film negative scans I develop at home.  Colour film photos to follow at a later date once lab developed –

Leica M3 SS + Zeiss ZM Sonnar

Leica M6!

Ilford Pan F 50 Film

Ilford Pan F 50 Film

Matthew Osborne Photography

June  2015

Ilford Pan F 50 film is super fine grain, slow speed, black and white film produced by Ilford.  I bought a roll of 35mm Pan F 50 to take on my trip to Zurich for a model photography workshop.  It was my first time using this film and I was interested to see the results.  I often use ISO 100 speed black and white film such as Kodak T-Max 100 or Fuji Acros 100.  I had not shot with slow speed film before but I was in luck as we had bright sunny weather for the shoot.

I shot the Pan F 50 film in my 35mm Voigtlander Bessa R3A rangefinder camera on the first day of the workshop.  (My Leica M3 was loaded with Kodak Portra 160 and my Leica M2 was loaded with 35mm CienStill 50D film).  The first model we worked with was Joy, kindly supplied by Option Model Agency.  The second model was a local dancer, Julia.

Here are some sample images shooting Ilford Pan F 50 at box speed in my Bessa R3A camera and developed in a soup of 1:3 diluted Xtol solution + 1:400 Rodinal.  I realise other developers may give sharper and finer grain results but I wanted to use the developers I know best at this stage.  Most photos were taken with a Voigtlander Nokton 35mm f1.4 lens.

Model – Joy

Ilford Pan F 50 Portrait

Bessa R3A + Ilford Pan F 50

Bessa + Ilford Pan F 50

Ilford Pan F 50 Model Shoot

35mm Ilford Pan F 50 Fashion

Model – Julia

Voigtlander Bessa R3A

35mm Film Sharpness

Ilford Pan F 50 Fashion

Ilford Pan F 50 in Xtol + Rodinal

35mm Ilford Pan F 50

Conclusion

I was really impressed with the amount of detail captured with the 35mm Pan F 50 film.  The resolution was something closer to what is achieved with 120 medium format films.  My next test will be to shoot 120 Ilford Pan F 50 film in my Fuji GF670 stopped down for my sharpest possible negatives.

Would I buy this film again?

Ilford Pan F 50 film is certainly not an everyday film as it requires 3x more light than say the popular Kodak Tri-X 400 film.  I believe Pan F 50 is more suited to my 35mm film photography than my medium format cameras as 35mm lens are often much faster with the likes of the Leica M mount Leica Noctilux 50mm f1.0, Voigtlander Nokton 35mm f1.2 ASPH and Leica Summilux ASPH 50mm f1.4. I am also interested to try this film with my latest purchase, a 35mm Nikon F4 SLR with perhaps the Nikkor 50mm f1.2 Ai-s lens.  Most of my medium format camera lenses start at f2.8 (x2 slower than f1.4) or smaller with the exception of my Mamiya Sekor 80mm f1.9 C for the Mamiya 645 Super camera.

I plan to shoot Pan F 50  when I can during the brighter summer months of the UK and for some strobist work.  Price wise Ilford Pan F 50 can be found for under £5.00 a roll in the UK making it cheaper than Fuji Acros 100 and a similar price to say Kodak T-Max.  I invested in a 10 pack of 35mm Ilford Pan F 50 film to get a slightly cheaper price and to keep me going over the summer months.

35mm Ilford Pan F 50 :)

Matt

Related Links

Other Black and White Films

Non-Leica: DSLR Pop-Up Flash

Non-Leica: DSLR Pop-Up Flash –

Controlling the power of a pop-up flash manually and getting creative with it

Matthew Osborne Photography

1-2-1 Photography Workshop

On Sunday I was providing a photographer with 1-2-1 photography tuition from my Coventry studio.  The portrait photography workshop had a strong emphasis on lighting, using available light, on camera speedlights, off camera speedlights and also using the built in pop-up flash on the camera.  Not all photographers own a speedlight so many people are limited to the pop-up flash on the top of the camera (assuming their camera model has this feature.  My Leica M cameras do not have a built in flash however the Nikon D800 does).  The photographer I was teaching, Deji, did not have a speedlight so I wanted to show how to control the power of the camera pop-up flash manually.  When I teach I often describe a scenario to get students thinking in a practical sense as to how to solve the problem.

Scenario – Pop-up flash too bright

Local model Gina was modelling for me. The situation was that the pop-up flash was too bright on Gina’s face.  The camera settings were ISO 100 (lowest on the camera), shutter speed 200 and an aperture of f2.8 to obtain a shallow depth of field. We are using a prime lens and want to retain the composition so cannot step back from the subject.  We want the image straight from the camera so want to avoid cropping in post processing.  We only have this lens and we do not have a ND filter or polarising filter.

How do we reduce the pop-up flash power?

If you want the pop-up flash to be 1/3 power output then cover 2/3 of the pop up flash with you finger, half power, cover half of the flash and so on.  It sounds simple but it works.  I rarely use pop-up flash but if I was in the same situation with say my Nikon D800 freelancing for a wedding (where I am often asked to use the Nikon) and my speedlight batteries failed and my replacement batteries happened to be in the car 5 minutes walk away then this is how I do it.

Taking it one step further

If you want the pop-up flash light to illuminate the top half of the photo you need to cover the bottom half of the camera pop-up flash.  For example a model’s face.  If you were taking a photo of a flower with the subject in the lower half of the frame then you would cover the top of the flash to light the bottom half of the image.

DSLR Pop-Up Flash Portrait

Getting Creative – What else can you do with a pop-up flash?

Diffused Light

Hold a piece of tissue paper between the subject and the pop-up flash.  The further the tissue from the camera the more diffused the light.  Here is an example from Poland a few years ago when my speedlight was damaged in my bag so all I had was the pop-up flash for an entire weekend of model photography. Model – Agnieszka.

Ambient light & pop-up flash

Life is Tough..                        Handheld @ 1/10

There are lots of ways to make a diffuser for a pop-up flash.  An empty 35mm film white plastic pot used to be an easy DIY fix.  Nowadays eBay is full of cheap light modifiers so you can pick one up there for very little money.

Bounced light

In a low light situation you can bounce the pop-up flash onto a white or silver card held in front of the flash and angled at a wall or ceiling to create in direct lighting.  You can even just bounce it off your hand but you need to remember that bounced light will take the colour of the surface it is being bounced off.

Gelled flash

You can use a sweet wrapped or speedlight flash gel to colour the light output of your pop-up flash.  Why would you do this?  For example if you are shooting in a hotel that has tungsten lights (orange colour) you may want to match the colour of the flash to the room light.  By gelling the flash you can do this and then either leave the photo the same colour or adjust your camera white balance to the desired setting, such as “indoor”, “tungsten” or manually setting the camera white balance.

Photography workshops and tuition

I teach group photography workshops in London and 1-2-1 photography tuition from my studio in Coventry on out on location.  I specialise in portraiture, lighting and how to operate a Leica M camera.  If you think you could benefit from one of my photography courses then feel free to get in touch – Photography Workshops

Sample images from the Coventry workshop using one off camera speedlight to give different effects

Nikkor 200mm f2 Ai-s

Leica Summarit 50mm f1.5 Portrait

Leica Summicron 90mm f2

Leica M9 Fashion

London Workshop – Aug 2014

London Photography Workshop – August 2014

Matthew Osborne Photography

 

London Photography Workshop – August 2014

Mr Leica Workshop

 

Team photo from the August 30th, 2014 portrait photography workshop in Central London finishing with St. Pauls Cathedral as a backdrop (again!). Left to right on the photo, Rachel, Trang (model), Adam and Gurnek. I had not worked with Trang before but she was recommended to me by another model.  Trang had no modelling experience but was interested in trying it. As for all my model shoots I worked closely with Trang during the week before the photo shoot to advise, clothes, make up, location, expectations etc etc.

 

The importance of learning how to direct portrait poses

I was almost glad Trang had no experience as I meant I had to work harder directing every pose on the day.  I feel it is better for photography students to learn how to direct posing, here by shadowing me, so when they have a shoot of their own they can use some of the same skills to prep their model.

 

For example

If a photographer works with a very experienced model for their first model shoot they may find they have to give little direction and get great looking photos.  They will probably pat themselves on the back once they review the images and say i’m good at this.  Then, on their second shoot they get to work with another very pretty subject but this time they have no experience.  The ‘model’ may assume the generic ‘bus stop’ stance, feet together and arms by their side and say “what do you want me to do?”.  Now the same photographer suddenly becomes unstuck and it is highly likely the images will not be as good as either the photographer or subject has hoped.  They might scratch their head after and say what went wrong this time when I was so good the first time?

Answer.  You need to know how to pose a subject to get the best from them.

 

A good portrait is more than just the pose

The pose is only the tip of the iceberg it terms of getting a nice image when working with a model/ subject but you will get to pick up other little tricks when shadowing me for the day.  Examples: How I communicate to my subject.  How I use light, available light and artificial light. How I select my location and choice of clothes and styling.

Photography Workshop

 

Here is a link to the Flickr group I have setup to share the photos taken by everyone attending – https://www.flickr.com/groups/londonphotographyworkshop/

 

The next portrait photography workshop in London is on Saturday September 13th, 2014.  There are still places available for this day if you are interested.

 

Here are a few photos I took during the workshop and you can see photos by others in the group on the Flickr link above:

(All photos are taken with a Leica M9 camera + Leica Summicron 50mm f2 v5 lens as an in camera black and white JPEG processed via Lightroom 3. No Photoshop as awaiting new computer).

London Portrait Photography Workshop
Portrait Photography Tuition
How to pose a model
Photography Workshop
Available Light Portrait

 

Medium format film photography

In addition to using the Leica M9 I also took my new Fuji GF 670 medium format film folding camera to London.  I had the GF 670 camera in the 6×6 film format (can also select 6×7) and shot two rolls of black and white C41 Ilford XP2 Super 400 film (to use up the old film (from the fridge) and to get it lab developed with my other colour C41 film).

Leica M9 photos are now the norm for me so I get far more excited by my film photography, whether the new GF670 (4 rolls of film now waiting to get developed!)(very very excited as the first photos from the camera and include two rolls shot in Poland), the 35mm Leica M2 film camera, the Mamiya RZ 67 or any of my other film cameras.  I used to favour 6×6 film format when I first discovered film photography a few years ago using a ARAX-CM (Kiev 88) and a Pentacon Six TL so it was great to compose my subjects in a square frame again.  It’s like Instagram but 1000x better and real! 🙂

#fuji gf670 & #Leica M9 www.mrleica.com

Photography Workshops Autumn 2014 dates:

  • Saturday September 13th, 2014 – Model: Lauma (Lativian)(see my Flickr stream for example images)
  • Saturday October 25th, 2014 – Model: TBC but possibly Katie or Trang.

Hope to see you there! 🙂

More details..

 

Location:
Central London

Model:
TBC

Meeting Place:
TBC

Duration:
6hrs

Start time:
TBC depending on attendees but normally 11:00am

What equipment do you require on the day?
As a minimum you will require a camera with manual settings (even if you use the aperture priority or shutter priority settings to take your photos) and ideally a camera body with interchangeable lenses. I will bring a speedlight with Nikon triggers. You do not need a speedlight (flash) but feel free to bring with you if you have one. Please bring whatever lens you would use for portraiture for you style. This can be wide angle through to telephoto. I will bring a 5-in-1 reflector but again if you prefer to use any other light modifiers please bring them with you if not too bulky.

Previous experience required?
No experience of portraiture required. If you have some photography experience that would be beneficial but be no means essential.

What is included on the workshop?:

I give you the opportunity to shadow me on a location model shoot in London photographing a model on the street. I will teach you how I see light and shadows and use these to enhance your portraiture photography. We will use Central London as a backdrop to our portraits and I will show you how to get the best from different light sources. Lighting will include daylight only, daylight + reflector, daylight + speedlight (on camera and off camera flash), artificial light sources such as tungsten lights and any other light source we come across. I will teach you how to pose a model, tips as to how to work with models and what are the do’s and don’ts when working with models for the first time. I normally include some street photography as we move between locations so if that is your thing I will also show you how to zone focus and focus easily on moving subjects with manual lenses. I normally break up the day for light refreshments in a reputable coffee shop. This gives us chance to talk techniques and rest our legs over coffee and gives the model chance to change outfits ready for the second half. Please review my images on Flickr before signing up to the workshop so you understand the style of images I will be teaching. Thanks.

https://www.flickr.com/photos/32681588@N03/sets/72157633135264195/

Cost:
£150 per person.
Deposit of £25 payable in advance to hold you place. Balance payable on the day (or before).

Birmingham workshops and Coventry photography studio workshops:
If you cannot make it to one of my London workshops but would like to book tuition, I run 1-2-1 evening and weekend workshops from my Coventry studio at £35ph. I have had visitors from Alaska, Switzerland and Italy to name a few so if you are not UK based please do not rule it out. I am also looking to run workshops in a second city, Birmingham and also perhaps Poland if the demand is there.

If you would like book a day or request more details on any of the above please contact me at mosbornephotography@gmail.com

Thanks

Matt

http://www.matthewosbornephotography.co.uk/Photography-Courses.html