Recreating the 1940s

I was asked to provide images for an article in Vintage Life Magazine to be published in February 2016.  The article was to feature a woman who is writing a love letter to her husband who has gone to fight in the war.  The images needed to be produced in black and white to be appropriate to the period.

The Planning Stage

I was pleased to be able to work with my good friend, Laura, a model that I have worked with previously on various vintage projects. Not only does Laura have a very authentic vintage look, she also shares my passion for the era.  Laura and I discussed the concept and we started to gather various props including an actual picture of Laura's grandparents on their wedding day, and to scout out locations.

For the location we were initially going to use a coffee bar in Manchester city centre, but plans changed at the last moment when we went to pick out some vintage clothes.

Scouting LocationsPaula and Laura picking out clothes and props Clothing and Location

We visited The Vintage Emporium in Pear Mill, Stockport, where several of the traders had previously offered to loan me clothes for any shoots I did.  Paula, from Mint Vintage immediately rose to the challenge and in next to no time had found us a coat, hat, handbag and gloves, all of which were period authentic.

Whilst at the mill we spotted the recently opened cafe and identified it as the perfect location for the shoot.  We asked if we could stage the shoot there and were pleased to have permission granted.

Getting the Light Right

Scrim & ReflectorLaura on set with the scrim and reflector in place. (© Rebecca Mortimer) Although it would have been easier to set up some studio lights to take full control of the lighting, I wanted to use only the ambient light to give the final image a more authentic look (they wouldn't have had sophisticated lighting set-ups in the 1940s). This did cause one or two issues.  There was a lot of light available in the cafe area, which is generally good thing, but as we were shooting this in December the sun was very low in the sky and the light streaming in from the mill windows was too harsh.  If we positioned Laura towards the window the sun was so bright that Laura couldn't even open her eyes.  If we positioned Laura with her back to the window she was beautifully backlit but her face was in dark shadow.  This called for a little creative thinking.

To reduce the harshness of the direct light I placed a large diffuser (or a 'scrim') behind Laura, between her and the window.  This softened the light considerably but still gave Laura a beautiful rim-light effect from behind.  To get some additional light on Laura's face I positioned a white reflector opposite her and bounced some of the diffused light back towards her.  It worked.  The end result is a set of beautifully lit images without a single flash head being used.

One of the final imagesClick to see the full set The Final Result

The planning, the location scouting and the lighting set-up all paid off.  We moved outside for the final shots as we felt that the story should finish with the letter being posted. We found some great vintage-looking locations around Stockport town centre.  We used an alleyway with an old fashioned street lamp, a hilly street with a genuine period advert painted on the wall, and finally a wall-mounted postbox. We ended up with a set of images that we are delighted with. The high-contrast, black and white processing leaves the images looking very period authentic and we feel that the whole shoot was a great success.

View the Final Images

If you'd like to see the final images from the shoot, CLICK HERE

Behind the Scenes

Photographer, Rebecca Mortimer, was kind enough to photograph the shoot in progress.  Here are some of the behind the scenes images showing the events that took place.

Special Thanks

Like many shoots this was a team effort.  Therefore thanks and acknowledgements are due to:

Haili Hughes - Columnist for Vintage Life Magazine

Laura Norrey - Awesome vintage model. Follow her on Twitter

Rebecca Mortimer - for providing all the behind the scenes images. Also a talented MUA - check her out on Instagram

The Vintage Emporium - for supplying Laura's clothes and providing the cafe location for the shoot. Check out their facebook page here

How to Correct White Balance Using Photoshop

This is something very different for me.  I was sent an image and was asked if I could do anything to rescue it as the colour balance was totally incorrect.

I tried a method that seemed to work quite well and decided to write a blog article about the process so that others may benefit from it, too.  However, when I started writing each step down, the process became far too complicated.  So I decided to produce a short video demonstrating the methods used as showing is better than telling for things like this.

Here is the video showing how I went about it.

Here is the final image, too.  I hope you agree that the finished product is far better than the original image.

Also, if you're curious about what is on the end of the lanyard, it's a Swimcell.  Swimcell is a great way of protecting your mobile phone when you're out and about.  It's completely waterproof and can even be worn when you go swimming!  For more details about the Swimcell, visit the website at www.swimcell.com

Taking Headshots for Actors

Like most photographers, from time to time I get requests to provide headshots for actors.  Whilst this can be a simple procedure it is very easy to get it wrong. Actors need headshots for two main reasons; for casting purposes or for publicity purposes.  The requirements for both types of headshot are very different and could make the difference between the actor being selected for a role or audition, or being rejected.

Therefore, I thought I would provide a few pointers for taking headshots for casting.

First of all, for the photographer…

1. Time
Don’t rush taking headshots.  The client may be used to being on stage or being on set in a TV studio, but that doesn’t mean that they will immediately be comfortable being in front of you and your camera.  The American headshot photographer, Peter Hurley, says that portraiture is 90% counselling and 10% photography.  You have to build rapport with your client before they will be comfortable and appear natural in front of the camera.  They may be actors but they are not robots and they will need time to relax.

2. Lighting
Dramatic lighting may look really good on some portraits but it’s not for headshots.  The lighting needs to be even, soft and flattering.  It’s OK to have differentiation between the key light and the fill light, but no more than one to one and a half stops.  An artistic portrait with deep shadows is not what casting directors are looking for.

3. Focus
One casting director told me that “the eyes really are the window to the soul”.  The eyes have to be pin-sharp in the headshot and should be clear and bright with nice catch-lights.  Also, depth of field should be sufficient for the whole of the face to be in focus. As with point two, shallow depth of field may produce an image that is artistically pleasing but the casting director needs to see all of the face clearly.

4. Background
A simple non-distracting background is absolutely essential.  It doesn’t have to be plain white, but it does have to be non-descript.  The last thing you want is for the backdrop to take your attention away from the person in the image.  Whether taken in-doors our outside make sure you have a simple background and, where possible, throw it out of focus.  This also relates to point three and there is often a trade-off between the depth of field being sufficient to get all of the face in focus but shallow enough to throw the background out of focus.  Choose your lens and focal length carefully.

5. Pose and composition
As the title suggests, this is a headshot and should include no more than the head and shoulders.  A current trend is to crop off the top of the head and although this may be popular it is not suitable for casting purposes – especially in the UK.  The pose should be such that at least 75% of the face is visible.  It is OK to have the face turned slightly away from the camera but not so much that it is almost a profile shot.

6. Post Production
Casting directors have told me that what they most want to see is a true representation of the person they are going to see when they turn up for audition.  A very slight amount of retouching is possible but not the full skin-smoothing glamour process that may be used for a magazine shoot.  I use the ‘two week’ rule.  If a mark on the face is likely to be there for more than two weeks then it really should stay there in the photograph.  It’s OK to remove spots or blemishes that would clear up within a few days but things like moles or permanent facial features should remain.  And the same goes for wrinkles I’m afraid.  A casting director does not want to see a headshot of someone that looks twenty but looks more like forty when they turn up for audition.

Secondly, for the actor…

1. Time
Read the above.  You need to arrive at the shoot location early so that you have enough time to relax before you get in front of the camera.  The last thing you want is a headshot with a red face because you had to run the last half-mile to the studio to get there on time.  You need to look your best and that includes looking fresh and relaxed.

2. Make-up
The casting director is looking for a true representation of you; something as close to your normal, everyday look as possible.  If you are female it is best that you wear no more than a basic essential layer of make up for headshots, and something that looks natural.  You don’t want to look as if you’ve just stopped off for a quick photo session on your way to a night out.  Save the glamour look for your publicity shots, not your casting shots.

3. Hair
Please wash your hair the night before or on the day of the shoot.  And take a hairbrush or comb with you.  I have been surprised on a few occasions by actors that have travelled for an hour on public transport to get to the studio and then not even bothered to tidy their hair for the shoot.  Choose a style that keeps your hair away from your face.  Also, if you have long hair, make sure you get some shots with the hair up as well as down.

4. Clothing
As already mentioned above, this is a headshot session not a glamour or fashion shoot.  Keep your clothing simple and understated rather than garish and distracting.  Keep the colours plain and simple, something that compliments your eyes and skin tone.  Remember, the most important part of the headshot is your head; don’t wear anything that will draw the attention away from it.

5. Preparation
In the run up to headshot day make sure you are well rested. Get at least two good nights’ sleep - preferably a week!  And keep your body well hydrated.  Good sleep and hydration will keep your skin looking fresh and your eyes looking bright and clear.

I hope the above gives you some pointers on getting your headshots right.  Whichever side of the camera you end up on, I wish you the very best of luck with your career.