I took this photo of actor Ian Houghton during a short session in his home. There’s lots of light in Ian’s house and plenty of white walls to use as background. It then felt natural to have Ian in a white shirt, which minimises any distractions and focuses on the character of the subject.
For more information about my portraiture services please visit my website at stevebeeston.co.uk.
The digital darkroom is a marvellous place. A place where ageing can be reversed, weather transformed and darkness turned to light. A place where colour and light can be worked to polish an image and perfect an exposure.
An array of tools and techniques can be used to improve a picture and these same tools can also be used to bring life back to old or distressed photos, be they antique prints or more recent memories from the days preceding digital photography.
Faded or underexposed prints can be fixed by adjusting the colour curves. This powerful method uses a curves tool to manipulate the different lighting levels in an image, either across the spectrum or for a given colour channel. This way the balance of light and colour can be accurately adjusted to drastically improve the appearance of an image.
Colour saturation can also be adjusted, again either across the spectrum or for a single colour channel.
Tears and blemishes can be removed using simple cloning tools or more complex healing brushes, although the work can be detailed and time-consuming where the damage is extensive.
More complex repairs and restoration can involve dodging and burning to modify the contrast or exposure in selected areas of a picture.
For more information about the products and services I offer please visit www.stevebeeston.co.uk.
My portraiture service allows clients to be photographed in their own home or a chosen location, either indoors or outside. The service includes the use of a small portable studio that can be assembled in the client’s home or other indoor location.
The studio features a 3 metre wide white muslin backdrop and two daylight-balanced softboxes powered by low-energy 85W bulbs. The softboxes produce a gentle diffused light that can be used on their own or to compliment natural daylight.
Supplementary pop-up backgrounds and a range of reflectors are also available. These can all be used to provide an ideal lighting situation for photographing individuals or small family groups.
Assembly takes around 30 minutes and there is no extra charge for using the studio.
This photo shows Gavin Palmer as Barnabus Goche in The Company Of Players production of The Herbal Bed by Peter Whelan, performed at The Company’s own Little Theatre.
The production was directed by Jan Palmer Sayer and performed in the round. This is always a challenge for the photographer as seating and other parts of the auditorium can show up in the background.
I’m not a big fan of Autumn. In fact it’s probably my least favourite season. The nights drawing in, falling temperatures and the premature launch of the festive season, all providing good cause to mark down the latter months of the year.
However, Autumn does have one redeeming feature. It is the most colourful of seasons. The splendid reds and maroons, the vibrant yellows and orange, the vivid greens. On a clear day, these colours contrast beautifully with with grass greens and sky blues.
Early Autumn is the best time to photograph the season, before the wind blows the leaves from the trees and the rain turns them to mulch. This is when the shortening days cause chlorophyl levels to decrease and pigments such as cartenoids and anthocyanins are revealed.
The intensity of colour is related to the weather leading up to and during the Autumn. This can effect the chemical processes that take place as the trees prepare to shed their leaves.
When capturing Autumn colours I like to use a polarising filter. This reduces reflections in the leaves and really brings out the blue skies, especially at steep angles, without oversaturating the image. The effect can be especially pronounced in uncomplicated pictures.
Choosing the right setting for white balance also brings out the colours. The default setting for most digital cameras is to automatically detect the white balance, but this can be overridden by choosing one of a number of presets for such situations as sunlight, cloud, tungsten lighting and fluorescent lighting.
Autumn colours often appear at their best when photographed during the golden hour – the hour before sunset or after sunrise, when the sun is at it’s lowest. This produces a warm glow that brings out the greens especially. Manually overriding auto white balance is a must at this time as the automatic setting will try and compensate for the colour cast generated by the low sun.