Port­fo­lio re­view

Shoot­ing out of Miami, Florida, USA, Roberto Ojeda is tak­ing stun­ning por­traits with cheap and sim­ple props

NPhoto - - Over To You -

A reader looks for help in tak­ing ar­chi­tec­tural shots with more edge

All my life I have been an artist – a painter, sketch artist, and so on. I dis­cov­ered my love of pho­tog­ra­phy in 2010 when my former boss gave me a point-and-shoot cam­era. When I chose to up­grade, Nikon’s dura­bil­ity was the stand­out fea­ture for me. I feel I’m a good communicator, and this makes all the dif­fer­ence at the mo­ment of cap­tur­ing por­traits. I am al­ways test­ing low-bud­get ways to ob­tain the re­sults other pho­tog­ra­phers get with very ex­pen­sive lights. I have used pa­per bags, foil, and pa­per as dif­fusers, and so far I am hav­ing fun with it.

These are some of my favourite black-and-white pho­tos. I love these be­cause of how frag­ile and in the mo­ment each model looks. I also used props you can find at the gro­cery store such as milk, flour, and cling film (Saran wrap). An­other thing these pho­tos have in com­mon is that they were all shot with just one light. Ev­ery model who posed in these pho­tos had never done it be­fore in the nude, and I had to make sure they felt re­spected and com­fort­able at all times as they bat­tled their ner­vous­ness at the sit­u­a­tion.

N-Photo says

Roberto, your im­ages are im­pact­ful, stun­ning and grace­ful in equal mea­sure. We’re very impressed with the fact that you’ve achieved these re­sults with a

sin­gle light and some sim­ple house­hold items and in­gre­di­ents.

‘Galaxy’ [2] is our favourite of your port­fo­lio. It’s in­cred­i­bly dy­namic, with the flour seem­ingly ex­plod­ing off the model. The jump­ing pose works so well be­cause you’ve frozen the ac­tion with the back­lit flash.

‘Flu­id­ity’ [1] is also an­other shot that wows the eye. It makes us won­der how you got that ef­fect. There’s just enough liq­uid on the face to de­fine the fea­tures, but lit­tle enough to cre­ate this splat­ter­ing ab­stract. Your work demon­strates you have strong con­trol over ex­po­sure, com­po­si­tion and tim­ing.

‘Fragility’ [3] and ‘Mother’ [4] are both lovely shots. They are tech­ni­cally pro­fi­cient and con­tain a good sense of emo­tion from the mod­els. But for us, they don’t have the same im­pact as the other, more ac­tion-based, shots. We can see the flour be­ing dusted off the model in ‘Mother’ but the body po­si­tion sug­gests a static pose. The jux­ta­po­si­tion be­tween the mov­ing flour and the still-look­ing pose is in­ter­est­ing, but they per­haps don’t com­ple­ment each other quite as well. It would be in­ter­est­ing to see these poses set up with a dif­fer­ent prop in­gre­di­ent, like milk or an­other type of liq­uid. The flu­id­ity in the milk would also com­pli­ment the smooth curves of the belly bump.

Over­all your im­ages are su­perb, and it’s great to see such pow­er­ful im­agery be­ing made with a Nikon and sim­ple props, but none of it would be pos­si­ble with­out your cre­ativ­ity and the will­ing­ness to ap­ply your­self in the pur­suit of new and bet­ter pic­tures. We look for­ward to see­ing what you do next!

3 Fragility Nikon D5000, Nikon AF-S DX 35mm f/1.8G, 1/160 sec, f/5.6, ISO200 4 Mother Nikon D600, Nikon AF-S 50mm f/1.8G, 1/160 sec, f/6.3, ISO200

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