The first studio shoot that started it all is based on Edwardian photo shoots with painted backgrounds. Where in the heck, do you find a painted background that is 10 or more feet long and wide? In the states, though to rent then would be an arm in a leg. To find a way around this, I decided to project an image behind a white fabric where it’s projected through so I wouldn’t be caught in the projectors light.
To begin with I tried a sheer fabric, but the image was not crisp and clear enough. There was too much tanslucance. So I cycled to King Fabrics one day before a test shoot and bought a thin piece of white poly cotton. In my quest for white fabrics, I realized many of them are not a true white. Many have a hue of one colour or another. One fabric jumped out as first being really cheap, then really hideous. All I could think of was all the post editing issues mainly getting rid of a green hue from all the images. Why put yourself in that position to begin with? Ends up, the fabric I bought was not wide enough. Off to Designer Fabrics at Queen and Shaw where they sell double width fabric. Not in the same day of course.
The interesting thing in choosing a background to be projected, is to pay attention to where the light in the image is coming from. I say this, because I chose a picture of a trellis I took on Toronto Island with a wave of foliage draped over it and a spray of roses and peonies at the base. The light that day was coming from the top left, so placing the light and at a particular strength was very interesting. There was much experimenting sometimes as late as 10pm.
Containing the light and blocking out natural light was fun. Each time I came I’d laps into a routine of pulling down the blinds, covering the doors with a black-out material and finally climbing the stairs to wind down the black-out curtain over the garage door. The studio is higher on one end then the other. To block out even more light, I had pieced together rods and light stands, stringing along it a voluminous, black muslin dividing the office and the studio. The light at this point was minimum and working well.
Three test sessions later, the shoot happens. I’ve hired a hairstylist and have an assistant for the first time ever. Alanna is an accomplished hairstylist and has done many photo shoots, but I didn’t explain myself well enough to convey what I actually wanted (which was the Gibson Girl pompadour) and in the end improvised. The result was very elegant and thanks to Alana’s ministering hands, lasted throughout the entire shoot. Thanks Alana.
And what’s next? Hopefully a few more studio shoots. I recently bought a Greecian column that was generally seen in Edwardian portraits with ferns upon them and women leaning on or beside them. By chance, a store in the building where I work was having a moving sale. I bought it and bolt a pinstripe fabric that may work for period clothing. Needless to say the column portraits will be next and then hopefully I can find the same good luck in finding a chair or settee to borrow.