Friday, October 23, 2009

Alfiearth Studio Photography Modeling Information

Alfiearth Studio Photography Modeling Information

From time to time a model is selected to be photographed by Alfie on a TFP or TFCD basis as a means of creating more works for upcoming gallery shows or a book that is still a work in progress. The process for selection is as follows: From a submission of a photograph the model is selected by a majority vote of a panel of four, his make up artist and three of his close associates. He has the final veto or acceptance but usually accepts the vote.

Models are compensated as follows:

TFP (Time For Prints) or TFCD (Time For CD) - excellent free way to build a great portfolio

Alfiearth studiois always searching for new models and is offering aspiring models a chance to build a stand out portfolio free of charge.

You have to meet the requirements detailed below:

•You must sign a model release
•You must be 18-55 years old (proof of legal age is required)
•Artistic nudity is required
•Chaperones are strongly encouraged to attend

A typical TFP/TFCD photo shoot with Alfie lasts between 1 and 4 hours and takes place at his studio in Ulu Kelang. The images produced during this photo shoot will be fine art nudes or glamour style. There will be NO explicit, degrading or lewd posing.

You may select one of the following forms of compensation:

•Professional Portfolio Enlargements
•CD with an original of every image taken.
(These are high resolution)

If you are interested in this opportunity please contact Alfie directly at

DISCLAMER: Each model is an independent contractor and, as such, is not employed by the photographer, agency, publication or gallery. Each model is solely responsible for all taxes, insurance, and licenses which may be required. Payment terms described here are subject to availability and may change without notice.

Tuesday, October 13, 2009

Alfiearth Studio

Alfiearth Studio

All studio rentals, reservations and appoinments are made through Alfie, our studio director at
or by calling 019-6470663, during regular business hours

Check in for the studio is at our main office next door
No. 345 Jalan tak tau,
Taman Entah Mana,
Ampang, Selangor

Studio Rates:

RM45.00 an Hour, Minimum Two Hours (RM70.00) Week Day Rates
RM55.00 an Hour Minimum Two Hour (RM80.00) Weekend Rates

PC computer available (additional charge) for downloading of Compact Flash cards and burning to CD/DVD's.

Rental Policy
Reservations must be cancelled 48 hours in advanced. Afterwards, you will be charged the full rate of total reserved time. Whether you use the studio or not, start late or end early. NO EXCEPTIONS!
Full day and weekend reservations require a 50% deposit, no refund on weekend reservations if you have to cancel.

Terms and use of the Studio:
All persons using the studio must be 18 years and over.
The rental time starts the minute it is occupied. You will be charged the entire time the studio is occupied, this includes set-up and clean up time.
No smoking within the facility
There is no additional charge for using the in house lighting equipment and props, however, you damage it or break it, you buy it.

In Studio Digital Photography Services
Also Available
$100 an hour special

For those looking to get model like images for themselves. The charge is just $100 for an hour in the studio, and it is restricted to just one hour. You'll get a DVD of all the images shot on hi-res, and you can shoot as many looks or as many different outfits you want within that hour. Plus you will get two sampled 8.5 x 11 photoshopped prints.
This rate also applies to those that want to get family pictures for themselves as well.
Models looking to update thier looks at this rate, you can get any type of glamour shot and headshot you want on the hi-key white studio setting or have an option of a different background that might happen to be up at any given time.(We change out studio sets weekly)

Thursday, September 10, 2009

Supplier studio light

I just bought
Elinchrom D-Lite 4 to go set c/w:-
2x EL D-Lite 4
1x EL Soft Box 66x66cm
1x EL Soft Box 54x54cm
2x light stand
2x EL sync cable
1x EL carrying bag for lights
1x EL carrying bag for stand

Price RM 3200.00

Supplier for Elinchrom Brand you can only get from:-

King's Photo
Tel: +603 9200 1025
Fax: +603 9200 3671
No 158-2-6, Kompleks Maluri, Jalan Jejaka, Taman Maluri 55100 Kuala Lumpur, Malaysia

For Profoto brand you can only get from Direct photo
For Hensel brand you can only get from Edge
For Broncolor/visatec you can only get from Eng Tong
For Bowens you can only get from Ruby photo (far east)

Wednesday, July 22, 2009

E Vogue studio Map

View E Vogue Studio in a larger map

Please scroll the cursor if you need to see more view

E Vogue Studio still under construction.

16 inspiration portrait photography technique

I’m learning that portrait photography can be tough in more than one way thanks to my participation in the December Challenge. I’m already getting bored with taking the standard cookie-cutter portrait, so I started digging around Flickr for some inspiration. Here’s what I turned up:

And yes, I realize that the accompanying text is much shorter than I would usually supply, but the idea of this post isn’t to teach these techniques — it’s to introduce you to them and hopefully give you some inspiration with your own photography. I feel that these photos are strong enough to stand on their own without lengthy descriptions.


If you’re good with post-processing and manipulations, use it to your advantage. Get crazy with the adjustments, try some new Photoshop techniques, and maybe even a composite image.


If texture is a big part of your subject, make it stand out and make it obvious. Match up the textures between your subject and your background. You might even try texturizing the entire photo for additional impact.


Blowing out the highlights or making a high-key image makes a nice soft portrait with kind of a light airy feeling. Another advantage of high-key photos is that the smaller details and defects are blown away, making the image look much smoother.


A dominantly dark or low-key image will naturally draw your eyes to the lighter parts. These tend to have a grittier and harder look to them than the high-key images.


Hair lights up like crazy when it’s back-lit, so if hair is a big part of your subject make it stand out by placing your subject between you and a light source. You could also take this a little further and push the image to a silhouette.


Get crazy with the pose and positioning — extra points if it looks uncomfortable. Not only with the poses, but also with your own positioning — shoot from different angles to achieve different impacts.


Capture the local culture — what’s mundane to you is exotic to us. Culture is everywhere, even in your own town. Just image you’re visiting from a different country — what things would then seem more interesting to you?


Make use of different surfaces to add that extra dimension — windows, mirrors, and water are all very good reflective surfaces that give a different result and texture.


Make the shadow an important part of the image. Sometimes the shadow can even be more prominent than the actual subject casting the shadow.


There’s no rule against cropping out most of the subject’s face. This draws more attention to the parts that are left in the frame.


Out-of-focus subjects can be more interesting than the in-focus subjects. It kind of adds some mystery to the image because you can’t quite make out who that person is.


Use movement to show action, even if it blurs out the subject entirely. In cases like this, think of the person as a means of creating the subject rather than being the actual subject.


Catch somebody doing something they love, even if it’s not staged. Street photography is one of my favorite genres because it captures life as it happens — unstaged and unposed.


Use vibrant and contrasting colors to draw attention to parts of your subject. This could be makeup, clothing, accessories, or whatever else you can get your hands on.


Not all portraits need to have a smile, capture the serious emotions too. Some of my favorite portraits have no hint of a smile in them, and they’re highly emotional.


Use the props and tools around you to make the setting more interesting. Find things to place your subject in, on, under, around, etc.

Web site refference :

Wednesday, July 15, 2009

Fashion photography

Everywhere we look we see images of beautiful women wearing the latest fashion, dressed from head to toe in the hottest looks from the catwalks of the world. These are the fashion models of today and tomorrow. These slick images surround us, but who creates these lasting impressions of cool? Who takes the time to study the art of capturing style and depth to produce a completely unique look with every image? Who else, but the fashion photographer.

In the fashion world names like David LaChapelle and Jill Greenberg are just as in-demand as the top fashion models that dominate the visual media. Fashion photographers are a subtle brand of celebrity, walking a delicate line between artist and industry professional.

The glamorous lifestyle may be the outsider's perception of fashion photography, but reaching success is a truly testing process. This profession is ruthless, and without the focus of strength to persist, the competition will throw you to the side. With every famous photographer there are thousands of others earning nothing from their trade.

You have to study your subject every day. Read, learn and think about everything you encounter. Everything you experience will contribute to how you perceive the world and consequently your art. Read fashion magazines whenever you can and invest in some quality fashion photography books. You can get some off easily. If you're serious about fashion photography then you need to have at least one professional-grade camera, some basic lighting equipment and a tripod. Look into the different types of camera as they will affect the photos you take.

Your portfolio is your most important asset when you are establishing yourself in the business. It represents what you can do, so spend time making sure it represents you perfectly. Fashion editors are going to want to see examples of your work before they hire you so spend time on that portfolio. It should have at least 20 photos to give sufficient space to show the different styles you can do. 4x5" format is recommended, but 8x10" will do if you're in a rush. Any publications featuring your work can be part of your portfolio too. Make sure to vary the style in your photographs, capturing figures from different perspectives.

When you apply for a job, you can expect to leave your portfolio there for a few weeks, so make sure you make copies of your portfolio so you don't have to be idle while hearing back from employers. For a different look try taking partial body shots, for instance photographing watches on wrists. They make a great contrast to the rest of your work.

Today it is becoming necessary to upload your work online. Make sure you website has a great look- you are an artist after all and presentation is everything. You can promote you work for free by entering it into online contests. The internet is a great place to network for professionals, so make sure you use it.

Saturday, May 23, 2009

Lighting,color & Gesture

breaks photos down into having three primary characteristics: Light, Color and Gesture. Light and Color are fairly self explanatory, but Gesture is trickier to describe. Gesture in this context is the form, action, or attitude of the subject.

Tips that can help our own photography:

  1. “Always have your camera with you, it’s easier to take pictures that way”
  2. The 180° rule - take a picture looking one way then turn around and take one looking the other, or shoot the same object from different vantage points. The idea here is to capture opposing lighting or opposing subjects.
  3. “Be responsible for every square millimeter of the frame.” In other words be aware of everything going on in your frame to avoid extraneous stuff distracting from your message (i.e. trees growing out of people’s heads) or the flip side is purposefully using those elements for effect.
  4. When shooting people on the street, it’s usually easier to ask for forgiveness than permission. If you’re shooting kids however, ask the parents. “They tend to get freaky about that.”

Friday, March 6, 2009

Thinking about Light

You will quickly improve your ability to create and recreate lighting effects you like if first you take time to study natural light.

Hard Light

  • The sun is the source of all daylight—sun in a clear sky casts one hard shadow opposite each object it hits.
  • The angle and length of that shadow depends on the angle of the sun to the earth, as well as to the subject.
  • When the sun is overhead, shadows are short; when it is low, shadows are long..
  • When the sun hits the side of a subject, it reveals texture.
  • Light that casts a hard shadow is technically known as “spectral” light.
  • Hard light can be dramatic in effect, or it can be harsh, ugly.
  • Any photo light with a metal reflector mimics the look of the sun in a clear sky, causing a hard shadow to fall behind whatever it hits.

  • The angle, shape, size, and finish of metal reflectors behind lights, when aimed directly at a subject, all influence the “look” of the light.
  • A “bare bulb”—a photo lamp, flash, or strobe tube without a reflector—casts a soft shadow similar to the sun through thin clouds or mist.

Soft Light

  • The sun filtered through fog or cloud casts soft shadows or almost no shadows.
  • Soft light, called “diffused” light, is easy to use, flattering to most subjects.
  • Totally shadowless light can be flattering, or dull or drab, like the light of a heavily overcast day.
  • The sun, when it “bounces” (or reflects) from a white wall onto a nearby subject in shadow creates a warm, flattering, almost shadowless effect.
  • Photographic light can also be softened by “bouncing”—reflecting—it.
  • Bounced photographic light is always soft and is usually flattering to people.
  • Many accessories are made that diffuse and/or bounce photo lights—white umbrellas and collapsible white/silver reflectors are the most useful.

Important Lighting Safety Information

  • Never be afraid of using photo-graphic lights, but always treat all of them with respect.
  • Always read and follow lighting manufacturers’ safety and operating instructions.

  • Never run more than 1,200 watts total of lighting equipment off one modern AC power circuit.

  • Never plug any lights or strobe power packs into AC power outlets where appliances that heat are on the same circuit.

  • If your hotlights or power packs trip a household circuit breaker or blow a fuse, immediately turn off the lights or strobe packs before resetting. Then reduce wattage demand on the AC circuit, or split lights or packs between two or more circuits.

  • Always use cotton gloves to touch glass, to prolong lamp and tube life. Never use frayed or damaged power cords or extension cords.

  • Never use any lighting equipment where it’s wet.

  • Be aware that all photo lamps and tubes can burn fingers. Let them cool before packing.

  • Never touch a tungsten lamp (bulb) or strobe tube while the equipment is turned on.

  • Allow twenty minutes’ cooling time before changing or packing lamps or tubes.

  • Never allow children or animals to be left unattended near lights.

  • When photographing kids or animals under lights, be sure a parent or baby minder or animal handler is on the “set.”

  • Warn adults that they must never touch lights, cords, or equipment.

  • For maximum safety, use sturdy light stands. Extend stands from the bottom up. Make sure all stand sections are locked before adding lights or strobe heads.

  • Weight tall stands at the bottom. “Booms”—light stands with an arm that extends to hang light over the set—require counterweights to keep them from tipping.

  • Light cords must reach the bottom of stands and lie flat on the floor to reach the AC outlet—use extension cords if needed.

  • For maximum safety, tape power cords to the bottom of stands and to the studio floor with electricians’ “gaffer tape.”

  • Refer to these safety suggestions, and others in the body of the book, until they are second nature to you.

Wednesday, March 4, 2009

Composition 10 tips

When framing a shot, pay as much attention to the background as you do your subject. A complimentary background can enhance a mundane subject- a poor choice of background will make a great subject fall flat.

2-Keep It Simple
The strongest compositions are ones that get their message across quickly. Look for the building block of a great photograph in line and shapes.

3-Personalise It
Ask yourself what you're drawn to in a scene-the height of a building, the patterns in a field, the shape of a flower-and bring that element out.

4-Watch The Cropping
When you're framing people, avoid chopping them off at the knees or ankles.

5-Think About Numbers
Odd numbers of things tend to be visually more exciting than even amounts. Triangles are more dynamic than squares or rectangles, which echo the boundries of the frame. Three's the magic number...

6-Raise your Aspirations
Tell yourself that you're going to take the best photograph you've ever taken when you get up in the morning. This can lead to disappointment in the short term-in the long term, you'll definitely raise your game.

7-Study The Masters
We've given you a taster of three masters of their craft in this book-take time to search out the cream of contemporary and classis photography (keep an eye on digital camera)

8-Avoid Cliches
Don't be happy with simply imitating other photo you've seen. Think about using different lenses, treatments and viewpoints. Don't be afraid to lie down in the mud or sand. Be determined to create something more artistic than you wew producing a year ago.

9-Shoot Plenty Of Frames
Really work a subject-you're first shot is rarely your best one and you're not wasting film anymore. Work through early framing option to chisel your vision and weed out the duff ideas.

10-Always Carry A Camera With You
The more you shoot-family, friends, daily life-the more you'll begin to refine your eye for composition. Then, when a once-in-a-lifetime situation presents itself, framing it quickly will be second nature.

Sunday, January 18, 2009

Alfiearth studio

Welcome to my Alfiearth studio