Recent content by Michael Sewell

I don't really consider them to be negative comments. After all, I failed to make it absolutely clear that it was a lighting tutorial, and should have done so in the thread title, TBH. I hold my hand up to that one, and amended the initial post earlier. I'd also like to point out that those who...

I've actually amended the original post, so as to point out it's part of the lighting tutorial series.

It's definitely plastic. I'm just not sure how a wooden handle would have made a difference to the light in this lighting tutorial. https://www.talkphotography.co.uk/threads/copy-me-lighting-technique-discussion-volunteers-thread.135677

Without a doubt, the only certainty within the photographic trade, is change.

Well, you know what happens if you stop being busy. You get into trouble Ask my Wife :rolleyes:

You know what happens when you mention the Devil's name.............................................

Alas, the pic was not actually created as a food pic, but an experiment in Renaissance lighting/imagery, and not my usual food imagery style for clients. Arguments over food styling are interesting, but not really pertinent to my goal, and the Copy Me Lighting Tutorials are examples of lighting...

Good call

We're all faffers to some degree. Some are a little more focused in their faffing than others ;)

Definitely different. I wanted a Rembrandt feel to the image, so the "window" reflection in the bottle is quite important. But who cares anyway. It was a personal project, and so long as the client is happy with the final image, it's all good. And seeing as I'm the client and photographer here...

Couldn't have said it better myself Phil. Plus, light travels in straight lines, and once you can visualise the path, it's secondary to visualise the amount of light that's likely to be put out by the selected output on the head, and how it's going to impact on the scene.

Hi Gil. I tend to know what I'm going to get from a given head, at a given output, through a given modifier. Occasionally, I have a subject that does not react to light in the expected manner. A particular paint finish on an Aston Martin mockup springs to mind. It was a metallic finish which...

Well, it wasn't a client shot, it was an experiment in acheiving a Rembrandt look, as opposed to the usual light an airy food imagery requested by clients.

This is the larger one of three. It used to be four, but studio 4 was a small product studio, and now my office.

Technique #25 can be found here: https://www.talkphotography.co.uk/threads/food-photography-a-different-perspective.670033/