Optics in photography by Rudolf Kingslake

By Rudolf Kingslake

This booklet explains basic optical ideas that follow to images, cameras, and lenses. it really is meant for execs and critical beginner photographers in addition to lens designers and optical engineers.

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4 SHUTTER SPEED: 1 ⁄ 160 sec ISO: 100 LIGHTING: 600w strobe with silver umbrella MIRROR WALL 65 Ilex Instant Location Shooting in a studio may give you absolute control over what appears in front of the camera, but almost anywhere can become the setting for a successful fashion shoot. The images featured in this chapter, for example, cover a wide range of locations, indoors and out: from the luxurious surroundings of a five-star Parisian hotel and a mansion house, all the way through to less exotic backdrops such as a parking lot or the restroom of a bar.

However, it’s not the only way of combining a static shot with movement: you can also use the classic “flash and blur” technique. n If you’re working in a daylight studio, choose a slow shutter speed— something in the region of a second or more works well—and take an ambient light reading that gives you the appropriate aperture setting for the ambient light. Set up your strobes to light your shot, making sure that the exposure they need matches the aperture needed for the daylight. When you shoot, the flash will “freeze” your model, while the slow shutter speed will continue to record any subsequent movement.

I was commissioned to shoot a selection of wedding dresses for ED Magazine in Chile, including this dress by couture designer Ruben Campos, the ‘architect of Chilean fashion’ and one of the premiere designers in South America. I shot on location at Museo de la Solidaridad Salvador Allende in Santiago, Chile, and the idea was to show a glamorous bride emerging from an export crate, looking more like a doll than a real person. This meant directing the model in a way that created a deliberate doll-like pose: stiff, but at the same time flowing and feminine.

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