Final Results

I have now finished the post production work on my photographs from the Phase One Shoot. All the backgrounds have been added and blended. The compositions have come out rather well and look very good.

For each of the soliders I chose to use a cloud covered sky with some sunlight in order to create a moody interesting composition.

As for the others I took a photograph of each of their places of work and used that as the background. These compositions looked good aswell.

To start with I did have problems with the compositions and they simply looked terrible, just fake and badly done. As I mentioned before my Photoshop skills are not great, though this project has forced me to improve them. Which I am greatful and has resulted in some photographs I am quite proud of.

Photoshoot Results

I believe the photoshoot went quite well especially given the problems faced in the begining. As the lights booked from CLR where 'not available' to me so my lighting had to be changed to a set of strip lights being bounced from white polyboards.

Overall I did get the effect I wanted in most photographs, however due to personal error I forgot to take a few... Though the ones I have will more than surfice.

As mentioned in previous blogs that I was not using a studio background but rather adding in my own background via Photoshop. Below is a preliminary result using the background from Morgan Silks work.

Obviously I will be taking my own background photographs, this was just to hand.

While this will be quite a lot of work it is forcing me to use Photoshop, a progamme in which I believe I am quite weak.

Shoot Plan - Continued -

On further research I have found that Softbox should be an Elinchrom 1500 Head powered via the 101 Pack set on a Boom Arm Directly above the camera.

For the 'side lights' I shall use the Bowens Gemini kit combined with V shaped barn doors or Polyboard.

Though due to the closeness of the subjects to the lights I may have to use N/D filters to lower the light
level.

Cross Section Lighting Diagram -

Shoot Plan -

Here I will be discussing and explaining my photoshoot plan and idea. As I mentioned in the previous thread I noted that my main source of inspiration was from Morgan Silk. In light of this the studio background will not be the actual background.

Instead I will be going out with my Canon 550D SLR w/ 17-85mm Lens and Polorized Filter in order to capture some dramatic sky shots to use as the background. I believe this will add a more powerful feel to each photograph.

On top of this I have also been planning my actual studio shoot with the Phase One Camera.

As for the aperature I believe F/11 would be the most appropriate and set the lighting accordingly.

The equipment I need for this shoot is as follows -

Phase One Camera
x2 Flash Heads with Modelling lights
Softbox Flash
Silver Reflector

The equipment will be set up in the following faishon -

I have not quite decided what the backdrop should be however given that I will be changing the backgrounds I want to use a background that will make the composition easier.

Each flash head will be situated at a slight angle behind the subject, (much less than what is shown in the image above).

The Softbox Flash will be situated above the Phase One aimed down at the subject.

The reflector will be infront of the camera angled up. The purpose of the reflector is to ensure the lighting is balanced. The reflector will reflect the flash from the Softbox upward and illuminate the subjects face.

As for the lenses I believe I will deffinatley use an 80/50mm lens for most shots possibly 55/35mm lens for more full body shots.

Preliminary Ideas

My preliminary idea for the Human Form Studio shoot is based loosely on the film Jarhead. More specifically the final chapter, which shows the group of soldiers we have followed through the film in their regular life. While each character in the film was a solider while in Iraq, when in back home they are just normal people, with mundane jobs.

My idea was to show this through a series of 6 photographic images; based on 3 soldiers, showing them both in their Military Gear as well as their regular work clothing.

When looking into portraits of soldiers and war photography, Morgan Silk really caught my eye with very striking powerful studio portraits of US Marines. Which ties in perfectly with this project. However also looking at Don McCullin because of the famous and iconic 'Shell Shocked Marine' portrait.

Don McCullin Shell Shock Marine

Morgan Silk US Marine Portrait