THE STORY OF A MODERN-DAY EXORCIST

This is the second photo in a magnificent series commissioned by Diana Poletaeva.

You can see the first photo, the background to its creation, and a slideshow of the Photoshop work here (I'll add it later).
In this article, I'll explain and show how the image was created. The topic: "Fashion Exorcism." About modern values.

After the first photoshoot with the campfire, while everyone was getting ready, Andrei and I went looking for a location and angle for the next production.

For beginners, reference: "Foreshortening is the perspective reduction of an object's shape and the change in its usual outline. Perspective foreshortening is caused by the angle of view of an object as well as the object's position in space. That's what it says on Wiki, and I completely agree. There are still variants where the angle of view is referred to as foreshortening (and I include that), but technically, that's not entirely correct, although it's a common expression among colleagues and assistants."

So we went in search of a location and a future foreshortening. I took the previous photo with a Canon 24-70 f/2.8 lens. In search of a (let's say habitual, short) angle, I tried lenses with focal lengths of 16-35 and 24-70. After a series of test shots, I decided to go with the 24-70 again.

By the way, if you compare these two When comparing lenses in terms of sharpness and image clarity, the Canon 16-35 f/2.8 wins. It delivers a sharper and clearer image.

We then mounted our black Simplemobile and tested it for the best composition. Only then did we add Diane's cool white car.

A kind of wrapping near Andrei's feet marked the spot where Diana would stand. Our main character.

Of course, we parked the car in the designated position. It was a bit awkward, but nothing compared to the way we parked the car once during the Lama shoot.

Adjusting the angle.

One step to the left, one step to the right completely changes the image. Therefore, the distance to the subject, the focal length of the lens, the distance from the edge of the frame to the model's head, and from the bottom of the frame to the model's feet are very important. Otherwise, it's a bit of both. At the same time, you have to adjust the composition of all the objects in the frame. This requires a certain sensitivity.

Especially since I'm always drawn to "wrong" compositions that break the rules. Perhaps this is one of the forms of happiness and creativity among professionals: knowing how to do things right, framing them the way you want, and finding your own aesthetic in the process. This is harder than it seems, but this is probably "your style," the pleasure you're doing all this for.

The final touch to find an angle for the model in the picture.

In the gray box lies a crossbow, which will also be used in the play.
Remember the classic saying: "If a gun is hanging on the wall, it will be fired in the play."

Canon 24-70 f/2.8 @ 48mm
ISO 200
f/10
1/200s
Flashes: 600 and 400 joules. On full.

Nozzles: Standard reflectors with fabric fences.

Obvious overlighting and too uneven distribution of the light pattern across the model.
We place the umbrella over the light and adjust the distance to the subject and the angle of illumination. Meanwhile, the sun sets behind the clouds.

This is naturally reflected in the light distribution in the image.

I check the result.

I stop at these numbers:

Canon 24-70 f/2.8 @ 46mm.
ISO 200
f/14
1/200s
Flash units: 600 and 400 joules. On full.

Nozzles: Standard reflectors with fabric fences + umbrella on the light.

A course for young fighters for beautiful girls.

And a few more improvements to the model's pose.

Two shots and it's done.
Let's look at the result. The first photo is finished.
Let's move on.

Above all, we love our clients.

Besides great photos and unforgettable photoshoot adventures, we guarantee you'll visit places you've never been before.

A second staged photo for later editing in Photoshop.

Diana climbed into the trunk of her car for the art. And art isn't just created on set, but also behind a computer monitor, in a graphics editor. I needed a second shot with beautiful legs. Diana's legs were perfect.

Especially since we had planned from the start that only Diana would be in the frame for all shoots. So she climbed into the trunk. Alena (the makeup artist and photographer of the entire backstage area) stood in such a way that I could sharpen the spot where Diana had previously stood, and her legs were just as blurry as if she were standing alone.

The legs were sharpened separately, and then I combined the two images in Photoshop.

A few pictures in the trunk as a souvenir.

"Portrait in the trunk. A new trend in Wanderer art.

I wonder how many people know who the Wanderers are now?

A video slideshow of how I edited this photo in Photoshop.

And, of course, the result of this creative photoshoot.

In the meantime, I'm editing the photo from the third and final photoshoot of the day.

Many thanks to the entire group and everyone involved in the creation of this photo:

Photographer: Eduard Stelmakh
Post-production: Eduard Stelmakh
Model: Diana Poletaeva
Makeup: Alyona Netjaga
Assistants: Mikhail Zheleznyak and
Andrey Bazilchuk.

To book a creative photoshoot, please contact me:

+49 159 04837874 - phone, WhatsApp
morefoto@gmail.com

Best regards, Eduard Stelmakh.
stelmakh.com