Testing in the studio with Lewis

no idea where the blue came from, but I love it…just a film happy accident

When you work as a studio assistant, one of the perks of the job is that you get to use the studios to test.

The assistant’s privileges on the matter varies from studios to studios, each one has a different policy: same charge very little, just to cover expenses, or, even better, they don’t charge at all, others charge a reduced rate for assistants, while the right to use the space is granted depending if the assistant works full time or freelance, if he/she has worked at the studio for a long period and/or if he/she is a key holder.

I feel incredibly privileged to be able to use the amazing studios and equipment that we have at Sunbeam and I really should make the most of it while I can, so I decided to get over my preference for locations and daylight and try to test a bit more with the studios space and artificial lighting (both flash and continous).

I have already written about a rather successful (at least for my standards) test that I did with a couple of twins in studio 1, our biggest space, here and this time I want to write about a semi disastrous test that I did in studio 3.

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Testing my new lens at the British museum

close up test at 1.4, the focus is just right and creates a lovely soft effect on the edges of the skull

I haven’t posted/photographed much lately because I’ve been crazy busy working, but I have to mention this new lens that stole my heart.

My uncles kindly gave it to me as a present for my graduation and I love it!
It’s a 50 mm f1.4 Nikon lens that I first tested at the British Museum with my Nikon D90 while visiting with a friend (who soon started wandering around on her own because I stopped for like half an hour to take pictures of the mummies, sorry Lenka!)

I adore the shallow depth of field that you can achieve with the widest aperture.

Unfortunately sometimes it’s hard to focus and it’s easy to end up focusing on the wrong area without realising it until the picture is blown up on the computer screen.

When shooting close ups I wouldn’t suggest to use the widest aperture. It would be better to shoot with a minimum aperture of 1.8 (or better, 2) to avoid disappointment later on. Anyway if you’re shooting still life you can always shoot a bit more to have some back up pictures in case the focus is off in the first one.

"crying" mummy, here the shallow depth of field brings the eyes to the "tear" detail

The lens is effectively  a 75 mm and, while isn’t as wide as you may expect from a 50 mm, it’s brilliant for portraits.

Lenka