Alright, so I’ve got a bit of an imagination. It usually resides somewhere on the meter between “outright strange” and “he’s lost his marbles.”
I’m also tenacious. Saw this discarded bunch of rope back in January and tried a pic with it that didn’t work very well. Cycled it through my head again for this one. First worked with Nathalia, who was very patient while Veronica, Will and Lynn circled the heavy hemp around her. She did great. I didn’t.
The overhead I used here just doesn’t have enough punch to bring out her smoky eyes, all made up for glam and drama. I used a small softbox, but it ended up not having enough push of light to spark her eyes and face. She’s smokin’. I, you know, pretty much, uh, failed. I’ve gotten a bunch of pix I like over the years just by trying them again. Can’t tell you how many times Bill, my editor at Geographic, has rolled his eyes and checked the budget when I have begged to go back somewhere and try something again.
So Tabia showed up and we talked through this idea. Would she mind being tied up? She was blasÃ©. Not to worry, she indicated. “I’ve been handcuffed to a box spring for a picture.” Okay! This is easy then! It’s great when you have conversations like this on the set.
Faves, and Diagrams…..
Had a couple questions on the wash basin. Okay, here’s what it looked like, available light.
Pretty, right? So first question in my head is how do I not screw this up? But things had to be done. If you’re shooting a still life of the plumbing, you’re good to go. Put a person in there, adjustments have to be made. Witness Andrew.
He’s hatchet lit. Nothing in the eyes. Tried an Ezybox Hotshoe softbox, but no go. Kristen is so close the wall, anything that is not pretty diffuse is gonna cast a shadow. So went with a 3×3 overhead Lastolite panel, moved in close, with two SB900 units through it. Made it just soft enough to have a bit of the existing character. Brightens a bit, but doesn’t slam dunk the scene into being radically different in terms of look and feel. Felt Kristen’s face needed a bit of a spark, so skipped another 900 off the floor, with a reflective silver Lastolite panel laid down. Very weak fill light, but important. Here’s the select, and the diagram.
While on the subject of Kristen…she had amazing symmetry to her face, so we mixed and matched. This is an overhead Elinchrom beauty dish, with a floor skipped SB900 running on manual slave mode, or SU-4. Do this all the time. Big lights, small lights…they work together well.
Aaron by the windows….
Really threw TTL wireless a curve here. Had no idea what would result with 2 SB900s out by the railroad tracks. Worried about triggering them and an interior light. But what was pleasantly surprising about the setup was how much power and clarity was achieved with small flash at a distance of easy 80 feet or so. The shadow pattern on the wall defined itself, even competing with the sun, coming from another angle and hitting the floor. Now, people will say, hey, there’s only one light in nature, the sun, and you can’t have two grid patterns like this. It ain’t natural. Point taken. But I like the two grids. Good graphics, and gives me pause and thought about future experimentation.
Aaron is looking up and into an Exybox Hotshoe softbox. Why the softbox in this iteration? Punches light in a contained way. Doesn’t scatter and spread. Less spread, less interference and softening of the shadows we worked hard to create. See diagram…..
The Light in the Hallway……
Lauren looks quite amazing here. One light, down the hallway. F2 on a 200mm f2 lens. Man, tough to manage sharpness for this. Finally locked it into manual focus and tried to hang in there. Razor thin depth at f2, and of course, they’re moving. In retrospect, a small hot light down the hall would have helped. Small, though. A hot hot light would have changed the exposure pattern, cause wide open I am picking up ambient hallway lighting.
Chancy, but like no depth here. The focus just drops, and the hallway goes from creepy and grungy to just being texture, light and shadow.
This light is a Ranger with a long throw reflector on it, by the way, with a Skyport trigger that navigated all that concrete quite well.
Lauren againâ€”Window, no window?
Bit of window….
That’s the great thing about shooting. Reactions are never unanimous, and generally lively. Some folks love the window, some want it gone. Here’s threeâ€”big window, little bit of window, no window. You decide…
We’re wrapped…..thanks again to Nikon, Adorama and Bogen. And Joe Ventura, Jeff Snyder, Mark Astmann, Gary Astill, and Kriss Brungrabber. And huge thanks to Aristeo’s Emmanuel Modeling Agency, and Sao, their booking agent, who made everything happen, and sent wonderful talent our way. Veronica, Nicole and Pia, you guys rock the world of makeup and hair.
Thanks again staff: Lynn, Syl, Drew, Will, Lynda, Andrew, Trevi, Hollie, Mike, Lindsey, Cara, Coby, Geoff, and Tommy. You were all amazing. Looking forward to more in the future..
Also, according to Our Assistant Will’s pedometer, during the workshops week, he averaged 4.9 miles/day, the setup day was 11.5 miles, and the total amount of walking for the week was 61.5 miles! wow.