New Zealand fashion photographer, Fiona Quinn, recently ran a fashion photography workshop.
“This time we explored shooting for different magazine genres and working with new season Winter trends to produce shots that are current and fashion forward. Both shots use simple lighting techniques but produce quite different results.” she says.
here are some final images Fiona provided us with as well as a behind-the-scenes shot of her setup. In this case we see her using a white 28″ Mola Setti.
and her lovely as always results…
and some further shots from the workshop available on her blogpost here from the day.
“Our Workshop on May the 6th is all booked up but if you are interested in a future Workshop get in touch with me through my website contact form and I will send you all the information and let you know when the next one is. We may run one more before Winter sets in otherwise it will likely be later in the year.
You get to meet my amazing team and learn how to create a successful fashion shoot from start to finish.”
Fashion photographer Emily Soto is back beating our drum with this editorial shoot using the white Mola 28″ Setti. This shoot was an editorial for SugarKiss magazine. Below is some frames from the shoot with a behind-the-scenes video at the end of her in action.
Fiona Quinn makes our heart skip a beat again with her beautiful rendition of her ‘Veuve Noir’ shoot published in M2 Womans Magazine. Fiona lit this with a white 28″ Mola Setti, shot in studio at Kingsize Studios in Auckland, NZ.
More workshops are planned for early 2012 by Fiona in New Zealand – make sure you get a chance to read up on them on her blog (includes previous workshop images)
Our fantastic friends at Llumm Studios, Valencia Spain, recently teamed up with the Spanish Mola distributor, Innovafoto, to create a comprehensive Mola test. There intention was to recreate the same conditions for each softlight, so they could appreciate the differences that exist among the different Mola range.
“I am just excited about the new Mola reflectors. My company, Llumm Studios, in collaboration with Innovafoto, has collected each Mola reflector model to arrange a comprehensive test of their differences and peculiarities. … I hope this analysis helps you in choosing your Mola. Although the tests are very exhaustively done, you know results can be changed simply by zooming in or out any on these light sources.”
“The test has two parts: First, focused on the model, Charles, and secondly we took general shots where we could see the light effect over a large area. We will check the differences in shadows and contrast and also the range and light fall-off of each Mola reflector.”
New Zealand photographer, Fiona Quinn, is back to bring us the quinn-tesential look in her recent beauty editorial shoots. The first utterly gorgeous shoot is care of an editorial Fiona shot for M2 Woman’s Magazine, titled ‘A Brighter Shade of Pale’. This was shot with the 28″ Mola Setti…
+ you can read Fiona’s thoughts on her blog post here from this shoot.
the second shoot was titled “Model Muse – Casey Lee” and was shot with the 22″ Mola Demi…
+ you can read Fiona’s thoughts on her blog post here from this second shoot.
WORKSHOP: Fiona will be running a photographic workshop next month at the end of October in Auckland, New Zealand. A few more details are available here on her blog.
Another way of softening the output of your Mola beauty dish is to use a diffusion sock. Unknown to a lot of people is that Mola actually makes 4 different types of diffusion socks for their entire range of Mola’s; (22″ – 43.5″)
When you purchase a new Mola, it ships with the standard nylon diffusion sock as seen below (installed on a Mola 28″ silver Setti)
Mesh diffuser; mesh diffuser on B&H
The mesh diffuser is how it sounds, an interwoven mesh of material. This results in a very subtle diffusion of the light, around 1/3 stop loss of light and is great for just a hint of softening.
mesh diffuser shown below…
standard nylon vs the mesh…
LW diffuser; LW diffuser on B&H
Similar to the ‘standard nylon diffuser’, the light weight diffuser is a breathable polyester fabric which allows more air to pass through the fabric. It is not as dense and diffuses a little less than the ‘standard nylon’ diffuser. (about 1/3 stop difference) This will help reduce the ‘ballooning’ effect when the lights fan / heat will fill the soft light and balloon the diffuser outward with some flash heads.
LW-diffuser vented (HMI); LW diffuser-vented on B&H
Like the light weight diffuser above, except this diffuser has an additional 3/4″ vent at the top. This vent makes it ideal for tungsten and HMI continuous lighting which generate heat.
Both of these LW diffusers will allow you to continue to shoot with lights that generate heat, or lights that are prone to overheat quickly and have thermal cutoffs.
TIP: some shooters will double-diffuse Mola’s by installing 2 diffusion socks for an even softer, subtle fill light. Recently featured Mola user; Fiona Quinn uses this from time to time.
—— Maintaining your diffusers;
The standard nylon diffuser that ships with each reflector does over time become dirty given studio or location situations. Some strobe fans drive endless amounts of air through your reflector pushing airborne dirt and dust into the diffuser.
Over time the dirt from fans or just months or years of location can take their toll on how clean your diffuser is.
Simply hand wash your nylon diffuser in a mild detergent and air dry, for tougher stains a fabric stain remover or a detergent with bleach will work well.
For taking out the wrinkles once it’s dry, just a quick spray using a spray bottle with clean water or a studio steamer will make the diffuser flat and wrinkle free.
Today we spot a Mola 43″ Mantti and Mola 28″ Setti being used by the fabulous John van der Schilden for Elle Canada Magazine. In this July 2011 issue we see Tanzanian born model, Herieth Paul, grace the cover at only 17 years old. John takes to the rooftop with the big Mantti and smaller setti to create these gorgeous images. Location lighting and Mola equipment was provided by S1 Studios in Toronto.
and assistant Paolo Croistante making sure the Mantti didnt go anywhere…