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Silhouettes In Pastels
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Ronald Balthazor |
Very well done, Dan. Striking shot.
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Colleen Braun |
very nice Dan...
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Gabriela Cunha |
great shot! :) gy
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- Carolyn M. Fletcher  Contact Carolyn M. Fletcher Carolyn M. Fletcher's Gallery |
Wonderful shot!
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Colette M. Metcalf |
This is wonderful, Dan!
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Lori Ditlefsen |
The girls are well posed and shadowed nicely. Great outfits. The yellow really makes them stand out too. Nice shot Dan.
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- Susan T. Evans Contact Susan T. Evans Susan T. Evans's Gallery |
Wonderful shot Dan!!!
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Dan S. Coquia |
Thanks Ronald, Collen, Hi Gaby!, Carolyn, Collete, Lori, and Susan! Your comments are much appreciated.
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Peggy Wolff |
Great shot Dan! I love the yellow with the black, and the shadows are great. What did you take this photo for? It looks like a feature piece....
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Dan S. Coquia |
Hi Margaret! Thanks for the comment and the interest on the photo. This was a PJ piece, an editorial where you are sent to do the event, yet the stage production crew has control of all the lighting (flashing and changing colors- "disco" like) and choreography for the models on the runway- and you don't know them, or they do not feel it significant to answer your inquiry about the lighting or where the models' exit or entry with reference to the runway will be. In this situation, you are left to your own devices as to how to cover for lighting problems that may or (should I say WILL) occur. You consider the fastest tungsten or daylight film with or without push/pull processing. You consider bigger and faster lenses such as 400mm with at least f4, nicer if f2.0 or 2.8, depending on your seating assignment or where they restrict the press pool into, in which case you have to rent it if you don't own one, that's IF the budget they give you will allow it. And lastly, you consider if your potato- masher (your flash) is potent enough for this situation. Some even have programs to consider ratios of actual flash outputs with ambient augmentations, which may be a disadvantage in a fast paced event. You cannot actually freeze the scene better- it's to the contrary. The shutter is opened at an additional fraction of time with that. The macho or powertool guys and girls among us tend to opt with more powerful Metz or mashers like that, rather than same namebrand flash- i.e. Nikon flash on Nikon body or Canon on Canon. The first few seconds of the event are where you get to make metering adjustments. Also, when you're in the actual shoot, you have to maintain a peripheral vision because everything is dynamic and similar to a three-ring circus, where many things are happening simultaneously. In my case, I decide group inclusions of the model-look or mannerisms that attract me, or what outfit preferences the client wishes me to cover, one or two or three models at a time to define a pattern or composition, and then pan, as well as continuosly zoom in or out simultaneously. Again, I'm not looking or focusing my eye on one thing. I'm looking at the whole peripheral cluster of things or models relative to the film frame that I am moving with. I expose as I go, some singles and some mutiples or intermittent singles. But then again there is the liberating (for me) "pause-pose", wherein they stop briefly now and then in choreographed groups. Although my preference is action-freeze shots. They're never boring that way.
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