Photography Blog

Ethan: Portrait Session

Typically, my portrait sessions are on location and I use the surrounding landscape as my backdrop. In this particular case, I used a backdrop and leveraged a semi-industrial setting to enhance the session. So here’s some of the process.

I have an obsession with the neutral soft tones frequently drawn out with Oliphant backdrops, which first caught my eye in Annie Leibovitz’s work. I also studied Mark Seliger’s use of light in the Oscars portrait room for Vanity fair. I kept my eyes open for a portrait session which would lend itself to this style when I was asked to do a shoot with a local young musician.

Going into the shoot, I knew I needed a space which would let me place both my subject and backdrop in a larger setting to add to the overall style, rather than take away from it. Fortunately, the church I attend has a few industrial walls with exposed pipes - those worked flawlessly for this.

I also knew I could not afford a proper Oliphant backdrop. They’re hand painted, large, and expensive. So I did a quick search online and came across a muslin that had a similar tonality and hit it with a steamer before the session.

I dragged out my biggest umbrella (Fotodiox Parabolic with White Interior, 60”) with the Godox/Flashpoint 600 w/s monolight. I perched a smaller Flashpoint Evolv 200 behind my subject to add dimension and separate from the backdrop. It gave a great highlight on his face. The key light was close to the subject and high, pushing the light downwards and creating a nice soft wrap while defining the jaw/chin. You can mostly see the setup in the shot below.


I could have added a grid to narrow the light spread a bit and darken the backdrop but I was pleased with how everything was pulling together (doesn’t always happen like that).

There wasn’t much touchup needed in post. Ethan nailed his posing, and everything was already neutral in tonality, so just a few touches to exposure in Lightroom and we’re good to go.


Cadyn: Dance Shoot

Everything was in bright sun. All the spots I pre-selected the day before our shoot were basically useless. I called a hail mary and told Laura to meet me at our "backup" location. When I drove up, everything but one spot was burning with midday light. 

Fortunately that one spot was a cool old door covered in ivy. So we got moving. I placed a few lights, Laura pulled out some Pinterest inspiration and iced coffees, and Cadyn did the heavy lifting. Enjoy.

Virtual Reality Commercial Shoot

I thought this shoot was cool so I wanted to share it with you:

We're playing with some ideas for a cover image for an upcoming report. This plays off the idea of augmented reality/immersive technology. Just a concept. Thoughts?

Photos of cover concept, image, and BTS.



Knew we wanted a surreal vibe - so combining technology with something natural made sense. Horsebarn Hill is right here and I knew we could get pasture and sky without any interference from trees/horizon. A faculty member from the OPIM dept was more than willing to lend us some students and tech and we went from concept to shooting within 12 hours.

I wanted our subject floating, to add to the sense of VR, so I placed him on a stool (he had a spotter) knowing I could remove the stool legs later in Photoshop CC.

The sun was 92.96 million miles away and to the right of the camera, so all I needed was another punchy light about 10 feet to the left at 600 w/s to add some dimension and make our subject pop.


Touched up in Lightroom CC
Stool removed in Photoshop + other adjustments
Final touches in Lightroom

Tech details:

Shot on Nikon D750
1/320 @ f/10
ISO 100
24mm (24-70 2.8)


Godox Witstro Flashes AD600BM, full power, camera left. Reflector with 40 degree grid.

This was done on assignment for the UConn School of Business (C) 2018 Nathan Oldham/UConn School of Business.