I love Classical Elegance in Photography and Portraits
Last week I made an old-fashioned styled photo with my friend and model Dizzy Dazzling. Call me old fashioned, because I am. After a long time, I used again with my old Canon’s tilt-shift objectives, manual focus and all.
While I’m a technology fan I’m also deeply in love with the handcrafted elegance from the past of photography and even beyond that, classical painting. I think my first movie star crush was Katherine Hepburn… so yeah, old fashioned.
Ah, this was fun. Moving the super heavy piano to the photoshoot area was a good start. I had to know for sure where it goes from the beginning because there was no way I would be moving it at all any more during the photoshoot. Then I was carefully placing every light but, damned, I couldn’t find a reflector. I had taken it out of the studio and so I had to improvise with a mirror between the floor and the wall, hoping it wouldn’t fall and break. But the light needed to be in the right places.
The tilt-shift lenses allowed me to carefully control where’s the sharpness in the picture. But in every shoot, I had to look at it with the magnifier. The model can’t move, and I don’t even breathe for a few seconds and even after that, when I’m ready to shoot, I say “Still!”. Then not moving is even more critical. It just takes a split second and then… breathe again. That’s one photo.
There was this man, Karl Freund, who in the past created the illumination for masterpieces like the film Metropolis (1927). I recommend investigating about him. One thing he understood was that you could create dramatic shots but then you can’t move. You move, and the light is out of place. The again he invented how to set the lights and the cameras for television sitcoms starting with I Love Lucy (1951). There light is evenly spread so it’s easy to see everything, the actors can move, etc.
Easy is good and it has its place and use. But whenever it is possible, spending some extra time to carefully handcraft something is precious.