Workshop with Witchy Set

On August 29th, I led a photography set-design workshop for the Costume & Camera group. The workshop focused on setting up a basic studio at home, then building a full set to match a cosplay or theme.  As part of the workshop, I did a live demonstration showing how I build a set and then use the set during a session.  

For this workshop, I used:

• Canon R6
• 24 - 105mm lens
• Surface Pro
• Tether Cables
• Spyder Color Checker
• Westcott FJ400 & FJ200 Strobes
• Westcott Trigger
• Rectangular soft boxes
• Platypod
• Gels
• Backdrop stand
• Hand-painted grey canvas backdrop
• 3 Light stands
• Clamps
• Fabric
• Flowers
• Fake candles
• Fake Skull
• Bottles
• LED light
• Posing Block
• Floor Drop
• Boxes

Camera Settings:

For this shoot, I used ISO 100 with an aperture of F8 and a shutter speed of 1/250s.  My focal lengths ranged from 39mm to 94mm, with 50mm being the most common.

Set Up:

This shoot was a demonstration, so I kept the set small and tight, even though I had no real space limitations except the size of my backdrop and floor drop. As this was a demonstration, I worked through building the set with the audience and model present so they could see my rationale.  I started with the backdrop and floor drop, then added one of the library tables and covered it with fabric. I then added a box at the base and added fabric to cover it, then added candles, flowers, and other props.  I then placed my lights at about 45 degrees off the subject to start. Since I forgot to take a picture of the initial setup, my lighting is just approximate.  

As we worked through the demo, it was obvious the library table was too big, so I swapped that out for my posing block and added one of the conference room chairs. Since the chair didn’t fit the dress's time period, I covered it with fabric.  Honestly, that is the best move; if the chair looks too modern, just cover it, because all chairs look basically the same under a sheet.  I then added a third light behind the model with a purple gel to add another layer to the image and tie the colors together.

The Photos:

This first image used the original workshop setup. As you can see, the table size just looks a little off compared to the other elements in the image.   I either need a higher box to do more step-downs to create a cleaner line leading up to the model, or I need to lower the table.  I chose to lower the table as you’ll see in the next image.  For this image, I made basic adjustments: white balance, color correction using the Spyder color checker, a slight exposure adjustment, and a medium-contrast tone curve.  I then added a gradient to the left side of the image because it was slightly too bright. Then I added circular gradients to each candle to make them glow.  I also added a gradient to the model’s face to brighten it a touch, since hats tend to add shadow.  I then added a strong vignette and an orange (highlight)/blue (shadow) color grade. Finally, to give it that vintage feel, I switched the overall color profile to Vintage 09 in Lightroom.  If you are wondering why I corrected the color and then modified it with a color grade and a color profile, it is because it is better to start with a color-corrected image so you can see exactly how you are affecting it and do less work in the long run. I should also note that I used Adobe AI to add the candle flame to the taper candle, as the fake flame on it looked really fake.

In this next image, you can see we removed the large table and replaced it with a low, fabric-covered box. I also brought in a chair for the model to sit on. This created a better leading line up to the model’s face.  You can trace the line by starting at the pillar candles, moving up to the flowers and skull, then to the bugs and potions, over to the model’s arm, and finally up to the model’s face.  For this image, I did all the basic adjustments and ensured the colors were correct. I then added a gradient on the right side to brighten it slightly, gradients to each pillar candle to create the glow, and a small gradient on the model’s face to brighten it. I then applied an orange (highlight)/blue (shadow) color grade and finished it with a strong vignette.

In this final image, I removed the chair and added the strobe with the purple gel behind the model. I also adjusted my main lights down to ensure proper lighting on the model’s face.  I did all the basic adjustments. Then only added circular gradients to the pillar candles and the model’s face.  I then added a strong vignette. Then finally I added a yellow (highlight) / purple (shadow) color grade.  You may be wondering why I used yellow in the highlights instead of purple; if I used purple in the highlights, it would throw off the skin tone.  The yellow also makes the purple background pop a little more.

Wrap Up:

First, I want to thank the wonderful Sara for modeling for this workshop; her regency witch outfit worked on both a cosplay and a standard portrait level, letting the workshop cover both.  Second, I want to thank the Costume & Camera group for letting me teach the workshop, because it is important to know how to build a set, since you may not always be able to find a location that works.  

As for me, I think I will change a few things about the workshop presentation to add more instructions.  I also want to show fewer examples but dive deeper into them so attendees can understand the thought process. Finally, I want to make the demonstration a little more interactive by asking attendees how they might build the set or place props so they can really think through the process.  I’ll keep the tethered shooting to show how the images appear on camera, as that really affects how you place props and lights.  

Finally, if you missed this workshop, I will be doing a shorter modified version during AnimeUSA in November.

You can see all the images from the meet-up here: Purple Witch