For this take on the grey fundoshi, I gave it a ʻvitageʻ feel by lowering the contrast and saturation of the photos. This left them a little dull, so I used setting in the color channel to try to make the fundoshi color remain a bit more vivid than the rest of the photo.
For the post production on this shoot in a blue gauze fundoshi against a white sheer curtain background, I decided to take a lighter approach than I normally do. I went for a soft, ethereal feel using a white vignette coupled with some glow effects.
fabric - batiste
color - red
funodshi Design - used a plate to outline the large circles and a brush to create the long lines
photo shoot - in bed
For this set of photos in fundoshi, I am wearing one of my favorite designs made with a grey voile fabric. A little old-fashioned tradition ʻput the thing on and take it offʻ shoot!
I took a quick vacation to relax a bit and found myself in another hotel room. We know I canʻt resist figuring out ways to have a fundoshi shoot while staying away from home. My trusty camera recently died on me, so I have a new toy to play with that has a nifty time-lapse feature that allows me to set up automatic snapping in any number of combinations. I found the sweet spot is a picture every 5 seconds. My previous camera only allowed 3 shots in a series, which means every 3 shots I would have to reset the camera. Now, I can set up any number of shots without worrying about leaving the ʻposingʻ space to do a camera reset.
Thatʻs enough of that...on to the shoot in a soft, comfortable gauze fundoshi against the sheer white curtains of the balcony. In an upcoming series, you will see how I manipulated post-production to get different effects with these curtains, but for today, just the normal lighting and color.
The last set of these fundoshi photos is my favorite. I wanted to emulate the look of some of the artistic photographic work done in the 40ʻs. I went for a stark black and white contrast, but tried to keep it smooth at the same time.
