Shot info: Canon G9 at 27 mm, ISO 80, f8, 1/1000/sec

Click on either picture for a larger version.

In the meantime, I’m still posting weekly images and will finish up my series on Studio Strobes for Beginners. See the picture below, taken with my 2 studio strobes, some white paper and a $12 item from Home Depot. Stay tuned for more!

Click on the image for a larger view. Its specs are: Canon 40D, 24-70 2.8L lens at 70mm, 100 ISO, f14, 1/200 sec.

I’ll be posting more specifics on the photo (diagram, setup shot, etc.) in a series installment.

A little nostalgia for this week’s image. It is a picture of our first daughter (she’s now 5). Click the photo for a larger view. This was shot in all natural light, with a 5MP point and shoot (5 years ago, that was a fairly pricey camera!).

I ran across a great image in Flickr one day that, as is often the case, inspired me to play around a bit. The photo I found was of a young girl laying down in a box with the illusion that her legs had disappeared – the photo displayed above was the final product in my attempt to recreate the Flickr photo (I really wish I saved that link – I wasn’t able to find it again – just my luck). It didn’t turn out quite as well as the one I saw, but it demonstrates the effect well.

I also did this because one of the models I use most often love to see her picture. After I showed her the picture, I think she liked it even more than I did! She got a big kick out of the fact that I could make her legs disappear.

This two part series will cover the process I used to create the photo. In this, the first post, I’ll review what I did during the shoot. The second post will cover how I finished the effect in Photoshop.

What You’ll Need

It doesn’t take a lot of expensive equipment to do this – at least on the camera side of things. I used:

• Camera – I used a Canon Rebel XT, but a point and shoot would work fine.
• Tripod (or a box, pillow, etc. to set your camera on)
• Box
• Clean space – the effect works nicely on a hardwood floor, but you could do it anywhere.
• Cute kid
• Elbow pads – this may not be necessary for everyone, but it took me a few minutes to get everything worked out and my model’s elbows started hurting.
• Lighting equipment. You definately do NOT NEED this. I placed a small hot shoe flash (Canon’s 430 EX, triggered by a transmitter on my camera) and an umbrella to her left to create some directional light. You could easily place things next to a large window or other soft light source.

The Shoot

The shoot was the easiest part of the whole process and took a little less than 15 minutes. You can reference a few of the shots directly out of the camera, shown below.

1. I started by taking a medium-sized box and pushing the inside flaps up inside the box. You can actually see one of the flaps behind her head. In retrospect, I should have cut that one flap off. Leaving the others is important, though, as it helps keep the box rigid and in a proper shape.
2. I angled the box appropriately, making sure that the back was not visible and that you couldn’t see through to the back of the box from the front (you would end up seeing the wall behind). At this point, it is important to make sure the box doesn’t shift through the rest of the shoot.
3. I placed the camera on a tripod about 8 feet away. I then composed the shot as you see. If you don’t have a tripod, you could easily use another box or other solid object. Like the box, you’ll want to make sure that your camera doesn’t move for the rest of the shoot (this backfired a bit on me – read on for more about that).
4. MY EXTRA STEP – I then set up my light/umbrella to camera left at about 45 degrees. If you don’t have an off camera flash, position everything near a large window.
5. First, I took several frames of the empty box (see Picture 1).
6. I then held my hand on the box (so it didn’t move) and asked my model to slide in, as shown in Picture 2. I took shots of several different poses with her in the box. Ideally, the two shots should be at the exact same perspective, zoom, etc. – one with the model in, one without.

   Unfortunately, while I kept the box still and had my camera on the tripod, I didn’t have a monitor for another young one wandering around the room, who bumped into my tripod in between shots. Normally, I would have started things over, but my model was done with it. I still had a decent perspective (the box is roughly at the same perspective). The shot was at a different magnification and rotation – two things I can fix it Photoshop. I don’t like to do that in most cases as it takes more time to do it in Photoshop than to get it right in the camera, but I really wanted to move past the shoot and see how it would turn out – the girl felt the same way. The two pictures should give a good enough idea of what this stage is trying to accomplish though.

That’s it for this step – now that we have these shots we can move to the computer. Stay tuned for the post 2 in the series for what to do next.

Picture 1 – Click for a larger view.

Picture 2 – Click for a Larger View
(Picture 2 should be the exact same as Picture 1, just with a person in it – see step 6 above to learn why they aren’t the exact same).

I ran across a great article about a month ago by David Ziser, a wedding photographyer. He was highlihgting another site he’d seen that displayed an interesting take on family portraits. The photographer shot each sub-family separately over several months and then composited them together. The result was a great, very large, family portrait (click here for the full story).

A large part of our family met over Christmas and we decided to try a similar setup (click the image above for a larger version). While we had everyone together at once and didn’t need to shoot separately over time, we still saw several benefits to shooting one family at a time. They included:
-Lack of Space: We didn’t have nearly enough room to fit everyone (about 35 people) together in one big shot, especially indoors.
-Individual Family Shots: We wanted to give individual families a nice, quick portrait as well. We didn’t want to have folks pose more than once–there was already enough going on and we wanted the whole shoot to go as quick as possible.

So, we set up a few strobes, a background, put the camera on a tripod and started shooting.
Read on for information about how we took the shots and basic steps on what we did in Photoshop. I’ll also detail the lessons learned, which were equally as valuable.

Shooting

1. Set up a camera, on a tripod, about 12 feet away from a background. I would have liked a little more room, but the space we were shooting in was a little limited.
2. Set up two 400-watt strobes, each at 45 degrees from the subjects. Set one about half a stop less than the other.
3. Brought each sub-family in, one at a time, and took several frames. Exposure, zoom, etc. were left untouched between families. See below for an example of one of the sub-family shots, un-cropped. The ruler at the left served as an aid in ensuring proper sizing.
4. The official stats on the shot were: shot with a Canon 40D, 24-70 2.8 lens at 27mm. f11, 1/200 sec, ISO 100.

Photoshop Post–Production

Let me start by saying that this isn’t meant to be a comprehensive (or even very thorough) Photoshop tutorial. I wanted to briefly outline the approach and tools I used without going into overkill on specific steps.

1. Opened in Lightroom (my favorite tool for initial photo sorting, editing and printing).
2. Did a few basic edits – not much really. Increased exposure/contrast a bit. Upped the color vibrance and did some pre-sharpening.
3. Opened and brought each photo into Photoshop. I created a very wide, blank canvas and moved each individual photo onto the canvas. I arranged as desired. I also renamed the layers, as shown, which made a big difference throughout the work.
   
4. I then cropped each individual photo in, leaving about 1/4-1/2 inch on each side of the people. That would allow Photoshop to do the heavy lifting in the next steps.
   
5. Working my way left to right, I did three things for each set of two pictures that touched.
   • First, I bumped the two pictures just enough to overlap that 1/4-1/2 inch of the background and then selected the two layers. Then, I took advantage of one of Photoshop CS3’s new features, Auto-blend Layers. I’ve spent lots of time merging panoramas in the past. They were a pain. With this feature, they aren’t – it simply rocks. To use it, select the layers and choose Edit > Auto Blend Layers and Photoshop does the rest.
     Now, there are a few things you need to make sure happen to get this to work right. First, don’t try more than 2 layers at a time. I know, it’s tempting, but the exposure and other items tend to get mangled. It’s worth the extra time to go two pictures at a time. Also, make sure that the adjoining pictures are overlapping just enough, but not too much. If any of the people end up getting overlapped, Photoshop will try and blend that person and it doesn’t turn out well.
   • I would then select the two same layers and merge them together. Doing that was an important piece of preparing for the next step. It was also critical to allow the new, larger, piece to appropriately blend when merged with the next family over (remember how I said you can only blend two things at once?).
   • After that, I decided if I should have anyone overlapping. It’s a trade-off. Doing it makes the photo look much more realistic, but it takes time. I ended up doing it about 3 times. I would cut out around one of the images, then slide them together and use the clone/healing tools to reblend the background. As time allows, you can also do some fancy dodging/burning/shadow creation to make it look like someone is truly in front of someone else.
   • I then worked my way over, merging the growing piece with the next family in line. I cropped the final photo down and, voila, huge family portrait.

Lessons Learned

• Distance from the camera to the subject is very important (much more so than I originally thought). When taking shots, make sure you measure the distance between the camera and subject and then set marks on the floor for folks to stand on. It will go a long way toward making sure everyone appears the proper size, relative to each other.
• Pull them out from the background when lighting. This isn’t really a shocker and it is something I would have done if I had more space (which we didn’t). It worked out fairly well even though there wasn’t much space, but adding more space would have created avoided shadows on the background, lighting it more evenly. That would have helped merging layers in Photoshop and would create a more seamless background.
• Plan to spend some time in Photoshop in post production. I spent a few hours for this photo and could have spent much more. If I were printing this at a larger size (or selling it) I would spend more time cutting folks out and overlapping them with other families. It’s definately the most tedious part of the process, but well worth it.