ROB DURSTON PHOTOGRAPHY

Archive for February, 2013

Liz Potter

The day we set aside for traveling to Donegall turned out to be a stinker of a day; a real Northern Irish winter day complete with strong winds and intermittent heavy rain. As we usually just travel light for most of these shoots, this one was much the same. A Profoto 600B along with a softlight reflector some stands and our trusty California Sunbounce were all that we needed to photograph Liz Potter for the Guardian.
Liz’s story began last year when she was riding along the shore by her house with her boyfriend. Her horse Clyde and Liz were terrifyingly sucked up by quicksand. You can read the story here.
We wanted to show the relationship of Clyde and Liz and portray it in a nice and simple, straightforward portrait. The daylight was very inconsistent because of the weather and it just wasn’t co operating with us. Steve, my assistant, “bagged” the Profoto unit into clear plastic garbage bags at the car and we set off across Liz’s fields to find a location. We took some photos of her and Clyde riding in the big field but the light was just too flat. I did a quick tight portrait of the two of them stationary that turned out nice but it didn’t have much zing.
Steve and I set up for larger shot, we were going to light Liz on Clyde, set against mountains and ocean. The clouds were rolling by very fast and we were getting hit by heavy rain, on and off, every few minutes. Liz’s face as well as our own were starting to get very rosy and raw looking. We would have to take what we could get and move out of the field soon. Steve cranked the light as high as it would go on the stand and dialed the power to halfway. I was getting f8 @ 100iso, not too bad. We took this photo and then a few more quick ones of Liz and her dogs, Red and Scooby. Here is a before and after with the final crop used for the magazine.

Liz Potter & Clyde

Liz Potter & Clyde

"Liz

This one of Liz, Red and Scooby is in the same field, using the silver softlight as well but this dialed down and brought to just outside the frame and close to Liz’s face so as not to light the dogs as much. You can see how Steve has feathered it off Liz almost entirely and it is lighting up the grass in the background, good job Steve.

Liz with Red & Scooby

The final image implements a technique I’ve been using for decades but didn’t really come into its own until digital made all the elements consistent. You take a longer fast lens than what you would normally use and basically create a panoramic or photo merge of the scene. You keep your exposure settings and focus consistent for all the portions of the image and later “stitch” it all together in Photoshop. What you end up with is a very high pixel dimensioned image (high res) that has an extremely shallow depth of field, that kind of emulates a larger format, shot wide open (shallow depth of field).

Liz with Red at the stable door

All in all it was a great shoot and it was very nice to meet a fellow animal lover in Liz and her partner Ryan.