Nostalgic Vintage Lingerie Shoot in Texas
greggcestaro.com This was a shoot I had wanted to do for a long time, and we had a great opportunity to photograph some of Megan Summerville’s lingerie, since Lydia just returned from NYC for some R&R in Texas. From every day basics to luxurious, one-of-a-kind pieces Megan Summerville was named Texas’ Next Top Designer in 2009, and creates lingerie for women of all sizes, and Lydia is Austin’s top mod who is working in New York right now. The location is pretty unique too. Its a western ghost town venue in Manor, Texas that has a lot of fantastic shooting opportunities. The combination of Megan, Lydia, and the ghost town along with Mandy Hernandez hair and make-up and Brittany Thomas’s fashion styling made for a productive and fun day of shooting.
Starting early while cool, and working with available light we went from building to building and piece by piece. I had brought all my studio equipment but power was limited so I went commando with just my camera and whatever light poured in from the breezy cloudy day. I shot with my Pentax K5II with a 28-135 zoom, manual, hand held, cross-process set, and changed angles constantly. Post production included all the burn and dodge, overpaint, and other pixel manipulations though very little post was needed.
I always seem to forget how cool available light can be and it should really be my start off point before adding to the scene. I generally have several levels of studio lighting….the ultralite set up which is a basic flash, remotely fired, with a small blow up diffuser on a stand that I place in areas needing fill or extended like 8ft in my hand, painting, while I shoot with the other. Its great for lite on the run stuff when you don’t want to be burdened with tons of stuff. This is how I ran doing BTS for Fashion Week a couple of months ago (see 1 2 3 4) Likewise, there’s the medium lighting which would be a larger battery charged monolight with umbrellas in combo with the smaller flash, there’s also a set of 4 150ws monolights (my first kit), and my big second hand Norman 1980’s power pack with four flash heads that can light a football field. Nevertheless, absent all this, available light without any additional lighting modification yields interesting results especially with cross-processed imagery. That was a big thing for me starting out too, the need to have studio lighting to be a professional photographer. Sometimes it best to keep it simple. But would rolling up to a Vogue shoot with just a camera around your neck be the thing to do?