Photo Tip Tuesday: Shooting Indoors

*wearing Sheinside kimono c/o & Shop Ruche dress

I'm still figuring out interior photography and working on closer self-portraits for when I want to show a hairstyle how-to or makeup trick, so as always before I start a photo tip post I feel obligated to state "I'm not an expert!" Since I don't have photoshop I have to get creative when taking pictures indoors and finding a large white space to use as a backdrop instead of creating one post-picture taking. Through trial-and-error and one "lightbulb" moment I've figured out a few tricks that will help you create a studio look without the proper equipment or money!

Use as much natural light as possible: One of the reasons I always shoot outside is that my home is not that well-lit. When I do shoot indoors I try to shoot in the early afternoon when a lot of light is coming in through my windows and I face my windows in my pictures. This is essential when you don't have any lighting equipment. Overhead lights don't tend to offer a lot of dramatic light anyway and using natural light from your window gives you a better opportunity to get purer colors (instead of a yellowish tint) and a sharper image.

Start at a higher ISO: You can read more about going manual here, but if you already play with your settings then it's a good rule of thumb to have a higher ISO when shooting indoors. I typically set my ISO at 500 which gives me more flexibility with my other settings but doesn't make my pictures too grainy (the higher the ISO the more grain).

Use inside out wrapping paper as a basic backdrop: I turn the bright red wrapping paper I got for wrapping Christmas presents last year to the inside (which is plain white) and tape it to the back of my door. The door is a clear space free of clutter and it faces my window so I'm better able to use the natural light from that. It is a smaller frame than a professional works with so it isn't necessarily the best for full-body photographs, but in a pinch it is a super easy and cheap backdrop for self portraits. Avoid wrinkling the paper and tape it a few inches above your head; you can turn it sideways if you're shooting a landscape photo and keep it long for a portrait image.

For self-portraits invest in a remote: I have long resisted getting a remote and I'm not entirely certain why I was so attached to my "set the self-timer and run" set-up, but while that works ok outside when I can use a prop to set the focus--indoors against a plain white backdrop I have nothing to set a focus on. So if you're shooting indoors a remote will make self-portraits 100% easier. The remote I use only cost a little more than $20 and has been priceless in its usefulness.

Move around: Although you might be in a tighter space and merely trying to shoot detail or beauty shots, it's still important to show different angles/expressions to keep things interesting. Shooting a hair style: are you showing all the angles of how the hair looks? Consider also taking a few shots further away and few closer photographs to show details. I always think you want to avoid that stiff "yearbook photo" look that comes from being afraid to move/blink/sneeze.

Inside out wrapping paper also works for accessories: Set the paper on a smooth surface (like your floor!) for a flat white backdrop for other detail shots as well. When working with accessories it definitely provides enough space and helps you achieve that "indoor studio" look without any professional equipment. A plain white backdrop really helps focus the attention on whatever detail you are photographing from accessories to makeup.

Turn your paper around for a patterned background: If you have fun patterned wrapping paper that can also become an easy backdrop! Experiment! For this photograph I borrowed my housemate's star printed wrapping paper; out of focus it looks like pastel polka dots.

Read all of the photo tip posts here.

Photo Tip: Executing Photo Shoots by Micaela

Most of my photo tips have focused on how to take your own pictures (self portraits if you please), but this week I've asked Micaela of The Drifter and The Gypsy to share her insights on how to plan a photo shoot. I often think of taking pictures of myself as practice for working with others, but there are a lot of questions about transitioning from one to the other and thankfully Micaela has some insights. I always enjoy her dreamy editorials as well!

Planning, Organizing and Executing a Fashion Photo Shoot

Hi guys! My name is Micaela. I live in the San Francisco Bay Area and I run Drifter & the Gypsy blog as well as my fashion photography website, micaelahoo.com. My passion for photography was actually born out of my blog (I was constantly inspired by the photography I would come across when gathering content for my blog posts). Aside from one basic entry-level photography class, I am entirely self-taught. I’m excited to walk you through process I go through when planning, organizing and executing a fashion photo shoot.
The first step is coming up with a concept. I ask myself, “What is the general mood I’m trying to convey?/What inspired this shoot?” Usually I’m inspired by song lyrics, books and movies. From there I brainstorm a few keywords that embody the mood of my shoot. Then using those keywords I brainstormed, I search for some images to create a mood board. A mood board is essentially a collage of images that all match in style and creates the aesthetic you are trying to achieve.
After I create a mood board, I pitch my idea (via email) to some people I’d like to be part of my photo shoot team. My team consists of a makeup artist, a hairstylist, a wardrobe stylist, and (of course) a model. It usually takes a few tries (and emails) until I piece together enough people that are interested in the shoot and available on the date that I had in mind. When choosing a model, I usually browse through the websites of agencies in my area and choose a few of my favorite models. I then email the model agent (their contact info can usually be found on their website) with my concept, accompanying mood board, shoot date, location, and team; I include as much info as possible to give them a detailed understanding of how I envision this shoot.
Shoot day is the most fun and the most stressful! I always worry that someone isn’t going to show up or get lost and luckily I’ve never had that happen (although I HAVE had people back out of my photo shoots the night before). Depending on how intricate the style, makeup and hair can take 1-2 hours. Either before or after makeup is done, the wardrobe stylist will fit the model in the outfits he/she brought. In a typical editorial shoot, there are anywhere from 6-10 outfit changes. Then I shoot! I usually have a list of shots I want to get, which makes it easier to explain to the model how I want him/her to pose. When shooting digital, sometimes the photographer will bring his/her laptop to upload the photos as they go along so that they can see how the shots are coming out and if they need to change hair/makeup/wardrobe based on how the final images are looking. In most recent years, I’ve tended to gravitate toward using film photography, so I don’t have this luxury! Although I’ll always bring my camera to test the lighting before I start shooting. Film is so expensive these days, I have to use it sparingly!
After shoot day is done, I am left with a few hundred images to sort through, edit and retouch (if I’m using digital). When I’m using film, it’s off to the camera store I go to get my film developed! I hardly ever retouch my film photos. Something about their rawness and the grain is so natural and works so well with my vision I feel they don’t need to be retouched. However, editing down to my favorite shots can be tough. I try to keep each photo shoot or fashion story to 20 images and less to keep it cohesive. The editing process takes me about 1.5-2 weeks. I like to take a few days off in between to be able to come back to the photos with a fresh eye. Sometimes my perception of the images changes and a shot I didn’t like before I like better later.

After I’m done editing the photos I email them to the entire team and put them on my website. I’m done with another successful shoot! Hopefully this post was insightful and inspires you to start shooting for yourselves! If you’re looking for more information, I did more detailed blog posts breaking down the process: part one and part two.
*behind the scenes photographs from my Bella Blue shoot
For more of Micaela's awesome work check out her blog and portfolio.

Photo Tip Tuesday: Instant Film by Amber Mahoney

This week's photo tip is for everyone aspiring to use their father's old Polaroid camera but a little afraid of wasting their money on film when they don't know what they're doing. As I'm hardly an expert in this area I asked a guest writer to share their wisdom with us. Thankfully Amber Byrne Mahoney (whose work I've admired for awhile now) has broken-down everything you could possibly need to know to start shooting with instant film into simple steps and helpful tips.

I love love love instant film. Waiting for that little square to make sense of itself...itʼs like scratching the cherries off a lottery ticket or when there were still toys in cereal boxes. It gets me Christmas-excited every time.
Unless you were lucky enough to hoard a lifetime of film before Polaroid closed their factory doors, youʼre probably working with IMPOSSIBLE instant film which is beautiful but can be a bit tricky. Here are a few things Iʼve learned through trial and error over the past few years (I shoot primarily with an SX-70 but these tips will help no matter what camera you use.)
For starters, hereʼs a quick run down of the three different cameras I use:
600 Cameras - great starter camera! Usually shaped like a box; affordable and very sturdy. Has a built-in flash as well as the capability to override this flash and shoot using only natural light. Awesome for landscapes, full-body and other at-a-distance photos. (Note: as this is a viewfinder camera, what you see in the viewfinder is not exactly what will be captured. For instance when using my 600 camera, all of my images are slightly left of center even though theyʼve been perfectly centered in the viewfinder.)
Example: Pete for Present Company, IMPOSSIBLE B&W 600 film 
Spectra Cameras - Also affordable and sturdy with flash/non-flash capability. Produces rectangular images (vs. the more well-known square-format-film used by the 600 and SLR cameras.) Also (my favorite feature) if you have the little timer button on your model, you can create double-exposures!
Example: Taja for Present Company, Double Exposure, IMPOSSIBLE B&W Spectra film 
SLR Cameras (Folding SX-70* / Polaroid SLR 680) - lovely, lovely collapsable cameras but quite expensive. Both of these models have auto-focus capability, glass lenses (wawaweewa) and are SLR (single-lens reflex) cameras, which means what you see through the lens is exactly what will be captured on film. Theyʼre wonderful for portraits and you can get quite close to your subject without creating a blurry image. The 680 has a built-in flash; the SX-70 requires a flashbar. Both cameras have a lot of intricate moving parts that can be rather fragile, but the photos are oh so beautiful and, in my opinion, well worth it!
*Note: Not to be confused with the OneStep SX-70.
Example: Celeste for Present Company, SX-70 Camera, IMPOSSIBLE SX-70 film 
Tip: After spending years (and far too much money) scouring eBay for a competitively-priced Polaroid cameras that, in the end, didnʼt work properly, I would definitely recommend buying through a reputable company, like IMPOSSIBLE or Urban Outfitters, that understands all the quirks of these wonderful cameras and carefully refurbishes them accordingly.
Ok, now for some shooting and film tidbits:
Batteries - The battery is in the film pack. If your camera is old and wonʼt turn on, this could be a simple fix of popping in a new pack of film.
Light - If youʼre working with natural light make sure you have enough of it, and if you donʼt, be sure to use a flash. When there isnʼt enough ambient light available, the shutter will drag (to allow for more light) and any small movement (either from the subject or the person holding the camera) will become a blur in the image. If youʼd like to work in a low-light situation without using a flash, try a tripod to stabilize your camera and ensure the long shutter speed doesnʼt create a blurred image (unless, of course, thatʼs what youʼre going for!)
Example: Taylor LaShae for Tomorrow is Forever, expired Polaroid Spectra film, low-light, slow shutter, slight blur 
I prefer natural light so I generally try to shoot around the golden hour (shortly after sunrise or the hour before sunset) when shadows are less dramatic and the light is a little softer. (Tip: When shooting with an SX-70, I usually adjust the light meter two notches to the dark side as the film is a bit sensitive.)
Developing - IMPOSSIBLE film should be shielded from light after itʼs ejected from the camera. I usually keep mine in a fanny pack (you heard me) or a pocket while it develops. Each image will come out a deep blue and takes about 20-30 minutes to develop. (Tip: Outkast was wrong! Donʼt shake it like a Polaroid picture.)
Temperature - The warmer the environment in which your photo is developing, the warmer the image tones will be (oranges, pinks.) The same goes for the other end of the spectrum: the cooler the environment, the cooler your images will be (blues, purples.) The optimal temperature for ideal contrast/ image tone is around 76o F.
Example: Garrison for Present Company, IMPOSSIBLE SX-70 film, around 90o F 
Example: Samantha Pleet for Present Company, IMPOSSIBLE SX-70 film, below freezing 
Example: Hannah Metz for Jane Sews, IMPOSSIBLE SX-70 film, around 76o F 
Tip: All of this means you can control your image tones! If you prefer warmer image tones, try exposing your image to mild heat (a.k.a. keeping it in a pocket or against your body in colder weather) while it develops. On the other hand, if you like cooler tones, try keeping your image in temperatures below 70o as it develops.
Film Care - Keep unopened film refrigerated (this helps it to last longer.)
Divots - Those metallic waterfall-looking divots dripping through your images are spots where the emulsion didnʼt spread properly. This could be a problem with your cameraʼs rollers (most of these cameras are a few decades old and may just need an adjustment or a good clean) or you might be dealing with an aging film pack. If itʼs the later, popping your unopened film in the fridge will help slow the aging process.

Example: Jen for Present Company, expired IMPOSSIBLE B&W 600 film 
A few final thoughts:
1) Each camera has its own sweet spot. Donʼt be afraid to play around with different lighting situations and change up your light meter until you get an exposure youʼre happy with.
2) Donʼt give up! Like anything, instant film photography just takes practice as you get to know your camera and the way it talks to your film.
3) And most importantly, itʼs easy to get lost in the pursuit of that perfect image. Try to remind yourself that, for the most part, itʼs the imperfections and unpredictability that make instant film so beautiful!
Example: Chelsea and Sierra for Present Company, IMPOSSIBLE SX-70 film
Happy shooting! xo Amber