Snapshots: Vipula Samarakoon

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This story was printed from CNET Asia.
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Snapshots: Vipula Samarakoon

By Damian Koh
22/08/2006
URL: http://asia.cnet.com/reviews/digitalcameras/0,39001469,39393232,00.htm

Most people get to see only fashion shows (think Victoria Secrets and Sports Illustrated) when in front of their TV screens--yours truly happens to be one of them. Unless you are a well-known celebrity yourself, or get to rub shoulders with them on a frequent basis and be chummy, you probably won't get to attend such shows very often, if at all. This, of course, doesn't apply to the (filthy) rich and famous. But if you excel in fashion photography and have a good network of contacts, things could be different. Before all that happens, you might want to find out more about the craft from Vipula Samarakoon (Vip, for short) and his thoughts on fashion and portrait photography.

The images you see from this feature have been reproduced with permission from Vipula Samarakoon. If you wish to be featured in our interviews or know any photo buffs who may be interested, write to us, and we'll get back to you.

Name: Vipula Samarakoon
Type of photographer: Professional
Equipment: The majority of my professional work is digital, using a Canon EOS-1D Mark II and a range of lenses. Portable electronic lighting is provided via a Canon 580EX (with external powerpack) and a Canon 430EX, generally used with Gary Fong's Lightsphere PJ II. Studio lighting comprises a pair of Elinchrom D-Lite 4s with stands, umbrellas and soft-boxes. As a backup, I also have a Leica M7 (yes, that's a film camera!) with a Leica Summicron-M 75mm F2.0 ASPH lens.

What he says:

	Candid shots can be very flattering and create a unique perspective compared with posed images. A telephoto lens will help to create a suitable distance between the model and photographer, yet still allow the frame to be filled by the subject.

"I'm a 30-year-old Sri Lankan-born Australian, now living in Singapore. My involvement in photography started at a young age of 12 when I first started to use my father's fully manual Pentax K2. Both my father and uncle were exhibiting photographers in Sri Lanka and most of my learning of this art have been influenced by them. I haven't attended any formal photography classes, instead learning from practicing and studying the works of other photographers.

Fashion and portrait photography is an area I have been recently "focusing" on. The challenge of capturing people in an image has long been considered one of the true art forms of photography. Personally, I enjoy the opportunity to work with some wonderful people and build a professional rapport that gives a subject the confidence in my ability to capture its image.

What about fashion photography?
Fashion show photography is extremely fast-paced and requires careful planning to create quality images. Always test and prepare your equipment several days before a shoot. This gives you time to repair equipment or arrange a suitable alternative.

	Catwalk shows are usually lit by tungsten lighting, so you can either adjust the white balance on the camera (if applicable) or adjust it during post-processing.

The lenses I like to pack for a fashion show are a wide-angle zoom, like the Canon 16-35mm F2.8L, for close-up dramatic images of backstage activity. The 24-70 F2.8L is a versatile candid photography lens, providing useful flexibility between wide-angle and semi telephoto. For the runway shows I use the 70-200 F2.8L IS exclusively. This is mounted on a Gitzo carbon-fiber tripod with the 580EX Speedlight attached and connected to the external battery pack. The shows happen very quickly so there really isn't time to keep changing lenses, or even memory cards and batteries. So being prepared is the key. I use an 8GB CompactFlash card combined with a 1GB SD as a backup, both in-camera as the 1D series can hold two cards simultaneously.

Remember not to get in the way of the production crew backstage. They all have a job to do and will greatly appreciate a considerate photographer. Be considerate to everyone and he or she will return the favor by providing shooting opportunities for you over other pushy, inconsiderate photographers.

Most runway fashion shows will use tungsten lighting, so you can either set your camera's white balance to match the situation, or change the white balance in post-processing. Lighting in fashion shows can be very challenging, so for this and other reasons, I always shoot in RAW.

	Fashion photography isn't limited to catwalk shows and studio shoots. I enjoy shooting in the early morning, in this case on a beach in Indonesia with the sun almost directly behind the model. Fill flash was used to reveal the subject details and create a balanced exposure.

The backstage of fashion shows is usually cluttered with racks, production equipment and staff. I always try and look for a clean background, either a wall or a curtain, or just wait half a second until someone in the background moves out of the frame. An uncluttered background will really bring the attention back to your subject. However, being uncluttered doesn't mean boring. Look for shapes and patterns that can accentuate your image, such as a row of make-up lights.

The technique of using a wide aperture to create a short depth of field, blurring potentially distracting items, is one I often use. Be careful with focusing with a short Depth Of Field--concentrate on focusing on the "leading" eye of the subject (the eye that is closest to the lens). The eyes are the key in any portrait, whether or not the subject is looking directly at the camera. The position and look of the eyes will communicate the subject's entire emotion--so focus on the eyes. Of course, using an off-camera flash will greatly reduce the occurrence of the dreaded red-eye.

Fashion photography is, of course, not limited to runway shows and studio settings. I really enjoy getting outdoors and using the natural light to capture beautiful images of my subject. Fill-flash can be useful in some circumstances; however, the key is appreciating the position of the model in relation to the sun and, more importantly, having a good relationship with your subject. If the model feels at ease and is comfortable in what he or she is doing, that will show in your images. Practice makes perfect, so shoot as often as you can and make sure you, and your subject, enjoy the experience and have fun!

I like to arrive several hours before a fashion show and capture the production team working backstage. I've kept a tight frame to avoid potentially distracting backgrounds and bring the focus to the work being done.
Camera settings: ISO 400, 180mm, 1/40sec, F4.5

This candid backstage image was framed carefully to capture the make-up lights in the background as soft white spots by using a relatively large aperture. As a general guide, leave more space in front of the direction the model is facing. This provides a more natural-looking image.
Camera settings: ISO 400, 180mm, 1/125sec, F3.5

This model just finished getting her hair done and spared a moment to allow me to capture this image. I had her bring her hair in front and framed the shot to allow for the flowing hair. In this style of portrait I always focus on the eyes and keep the area on top of the head tightly framed.
Camera settings: ISO 400, 75mm, 1/160sec, F3.2

At a catwalk show, try to capture the model during a full stride. This usually creates a more dynamic image as the arms are also extended. I framed this shot carefully to include the company name in the background.
Camera settings: ISO 500, 125mm, 1/800sec, F3.5

I like to bring my 180mm macro lens to fashion shows as there are always interesting details to capture, such as this intricate eye make-up.
Camera settings: ISO 400, 180mm, 1/60sec, F5.6

Another shot using the macro lens, employed this time to isolate the model from the surroundings and once again focusing on the eye. I used a slightly smaller aperture to increase the depth of field. Yes, that's Denise Keller.
Camera settings: ISO 400, 180mm, 1/60sec, F5.6

I felt that the unusual design of this piece was best displayed in black-and-white. The model's skin and wooden reeds from the outfit contrast well against the black background.
Camera settings: ISO 400, 23mm, 1/13sec, F2.8

For posed portraits such as this, I try to angle the model's shoulder away from the camera to create a more appealing profile. In this case, it was taken to an extreme and I liked the way the arm leads the viewer's eye to the face and the hair decoration.
Camera settings: ISO 400, 70mm, 1/60sec, F5.6

Having more than one model on the runway can create difficulties for framing. Timing is crucial and this image was captured just before the model in the foreground turned away from the camera.
Camera settings: ISO 500, 145mm, 1/60sec, F3.5

When a model arrives at the end of the catwalk I like to zoom in and take a close-up. Once again, timing is critical and on this shot I waited until I had eye contact before releasing the shutter.
Camera settings: ISO 400, 200mm, 1/500, F2.8

This shot is considered a more "traditional" portrait. The shoulders are oblique to the camera and I've used a short depth of field to isolate Keller's eyes.
Camera settings: ISO 400, 35mm, 1/40sec, F3.2

When shooting a fashion show be sure to get some shots of the leading model. In the case of the Singapore Fashion Festival this year, it was Lily Cole from the UK.
Camera settings: ISO 400, 200mm, 1/500sec, F2.8

Click here to see more of Vip's works.