Table of Contents. Staged. Ghosted. Detailed. Blacked. Blued

Transcription

1

2 Table of Contents Staged Ghosted Detailed Blacked Blued

3

4

5 STAGED. Shot on the stages of Rexburg, Idaho, this series presented a handful of challenges. Stage lights are notoriously harsh and tend to create unflattering forms on faces. Second, was the constant movement; angles had to be constantly analyzed and changed as the subjects moved from place to place during their warm-ups. Backlights and constant versatility were the effects used to turn the challenges into stylistic strengths. The harsh lighting created beautiful contrast between the highlights and shadows, cutting the shapes out from the background. The continual movement and change caused interesting angles and great versatility. This was my favorite shoot from this year as it continually challenged me to become better. It brought forth many opportunities to apply my skills and craft. These are the situations I constantly strive to be placed in.

6

7

8 GHOSTED. This old west series was shot on location at Bannack, Idaho. The time presented a real challenge as we had only one day to capture this amazing historic town. However, we maximized our resources using a combination of flashes and diffusion to capture stunning portraits. There were a large amount of models we had access to. They helped us create some amazing visual scenes that truly tell a beautiful story. It can be easy when working within a tight schedule to rush through your shots. But it is in these situations that it becomes even more paramount that time is taken to think through and plan each shot. Sacraficing quantity is a necessary trade off to acheive quality.

9 DETAILED. Properly placed lights and a sharp focus were key for this macro series. When working with such small subjects, the slightest move can mean the difference between a perfectly defined image and a blurry mess. The same goes for lighting. A slight adjustment to the light creates marvelous shadows and a great focal point. To capture these images, I used a macro filter which allows the focus plane to move closer to the lens of the camera. The challenge then becomes pulling focus, as the slightest turn can move the plane a drastic amount. To compensate, I would simply move my camera position slightly forward or backward to adjust the plane of focus.

10

11 BLACKED. Portraits are one of my favorite styles to shoot. They present a big challenge in controlling light and properly posing the models. Studio lighting was used in these shots. To give the models a beautiful look, the light was very large which creates a very soft effect. It was also important to place the lights so as to sculpt the shape of the model s face and figure. The reason I enjoy portraits is because there is an honesty that arises from each individual as they stand in front of the camera. Their eyes really do tell a story and the slightest adjustment can create a completely different image. To be honest, posing models has never been easy for me. In these portrait sessions, it is paramount to know the subject and their personality. As we talk and I learn about their life, the poses begin to come. Just as everything else in photography, the quality is in the details. It requires an eye for detail and it is somehting I am continually developing.

12 KADE ATWOOD. Cinematography came first to me. My style is deeply rooted in the look of cinema. I love to shoot dark, low key, soft images. You see, it is true that our eyes are drawn to the lightest part of the image, but where do our eyes linger? I believe it s in the dark areas, the places where we have to look a little harder and a little longer, where we find the detail. It s the dark images that cause me to stop and actually consider a picture. That is why I try to make my audiences work a bit. I create a puzzle and allow them to gather the pieces and discover the story that is told within each individual image The above photo was taken by Makenzie Bush. All other photography, designs, layouts, and writings were createad by Kade Atwood.

13