Now armed with updated software we printed out the targets and rebuilt the color table with the spectrophotometer and tested. It was perfect. The shadow tones - not present in the standard Epson profile were now open and detailed and the color balance of the whole test image compared with the previous days attempts proved the need for good color management to the group.
Having made such a mess of the target reading the day before (a result of dividing the job between 4 people with tiles read inaccurately and an older version of the software that seemed to have problems on my Mac) I brought the target image into Photoshop and soft proofed the bad profile and good profile side by side to show them how easy it is to see if you have gone wrong - something I could have done before printing yesterday.
While waiting for the targets to dry we printed on the InkAid coated media and got excellent results!
As lunch time was approaching rapidly and my stomach was seriously rumbling from a 16 hour gap in organic input, I decided to set up the second session while the food was being prepared and leave the participants to it while I took a break.
With great good fortune I had managed to convince Laura (from Finland), and Seppo's wife Juliet to pose for us starting at 2 pm and they turned up on time with Juliet's sister Jackie. They had brought a change of wardrobe and the plan was to work in two different lighting situations - one inside and one outside.
For the inside scene we worked in the Rock Art Gallery with a plane cream white wall. With only 2 speedlights to work with it was going to be a challenge to get balanced lighting - but with a makeshift reflector (a white PVC sheet used as a support for the Japanese papers) I thought we stood a chance of getting something good out of the minimum amount of gear.
|The basic setup with the white wall gelled to blue|
|The deep blue background shot with a 580 EX and a gelled gridspot|
|Laura in silhouette before the key light|
|Laura with a Lastolight softbox - later to be added a shoot through umbrella|
The sun was jumping in and out of the clouds and and the hard and soft change of light was exactly the situation I wanted to work with. Here the idea was to find enough shade to avoid heavy shadows and then set up the camera to underexpose the background so we could use a key light and a fill to separate the model from the background and make her pop! I gave a few simple instructions with a short demonstration and then left them to it.
With around 40 frames each from the 2 sessions they got really great results. Its one thing to focus on the technique, get everything set up and balanced and then get the model to respond but somehow they did an amazing job.
|Emmanuel's mother and son shot (he has only ever used a phone camera before this)|
|A few BTS views with patient VOL's and little Ronnie keen to join in|
|Ema Motta getting my take on the shoot (complete with a now full stomach)|
|Emmanuel Kichere with the shoot through and me behind with the key light|
|Vernon's shot of the lovely Jackie against a background nicely exposed with the Land Rover and Tanzanian flag|
|Ema Motta's shot of Laura on the steps of the back kitchen|
Little Roni - 4 1/2 (5 on the 15th of June so he tells me) took a keen interest in the action and picked up his dad's little point and shoot to join in the fun. His concentration was astonishing. I watched him for a few minutes standing there with his arms outstretched framing up the shot - and as each of the participants arranged their model and started to shoot he would press the shutter as soon as he heard the Canon 5D mkII shutter release next to him.
|Little Roni's (4 going on 5) shot of Jackie without lights using Seppo's point and shoot!|