Just getting back on top of things….that’s a lie, I’ll never be on top of things. What a crock of shit. Can’t believe I said that. Anyway, update from this particular bug on the windshield of life, the workshops were a huge bunch of fun, and lots of folks liked ‘em. In the latter part of the couple of weeks, ran a lighting gig for friends from Atlanta and Florida at Shoot Digital in NYC (my favorite NY studio, Hector runs a bad ass coffee bar) and we were blessed with Martina Redux….
Call this cove lighting. Can’t take credit for it. Swiped it from Gilles Bensimon, legendary fashion shooter and long time creative director of Elle magazine. My first cover story for the Geographic was called “The Sense of Sight,” and it was an in depth look at how the human eye works. A coverage item was eye makeup, so I got hooked up with the chief eye makeup artist from Lancome, and off I went to Paris to shoot on the set with him, during a Bensimon fashion take. Man, what a treat. I just sat in the corner most of the day and tried to soak up a tiny speck of what this man knows.
He looked at me and said, “You have ze best job, no? For ze National Geographique, eh?” Seeing as he was making many, many thousands of dollars a day shooting pictures of the world’s most beautiful women, I might have debated him, but I just smiled and shut up. (Good tactic when you are in way, way, over your head.) Thing was, word had circulated on the Paris fashion grapevine that Gilles was shooting at this studio, and during the day these unconsciously beautiful women were showing up, unannounced, to show him their portfolio. He was quite nonchalant about all this, dismissive, even, barely saying a word to these young ladies as did a high speed flip through their books. He would hand it back, and walk away. Crushed, these stiletto shod aspirants would slip back out the door. I remember looking at them (alright, ogling, gawking, jaw on the floor glass eyed dumbstruck staring; choose one) and timidly thinking about raising my hand to get their attention. “I’ll photograph you! I’d be happy to! Really! Your portfolio’s great! I like it! Does that matter?” Uh, no.
Martina is a joy to work with, and totally sweet, but man can she kill ya with a look.
He was shooting in a cove. When you take the time and trouble to rent a cove (think of the shooting set in the shape of half an egg) you might think you would do the expected and shoot into it. No. Bensimon arranged V-flats in the cove, banged his lights into them, which then washed back into the curved white surface and sloshed forward onto the model, who was sitting there on seamless paper. By doing this, he instantly created a huge light source. He settled in, crouching, back comfortably resting on the curve of the low part of the cyc, and proceeded to make pictures. “Voila,” flash. “Voila,” flash. “Voila,” flash. I’m thinking of trying that line of patter next time I do a portrait for SI. You know, in the locker room, going, “Voila!” I think it will be well received.
Trying to show it here. Nigel helped me.
And Vanessa came the next day. Quite honestly, one of my favorite subjects, and an enormously talented ballerina.
Always wanted to blow her hair around, seeing as she’s basically never cut it. Did this with the new-ish Elinchrom deep throat soft box. (That’s the name they’ve marketed it under. Gotta love those wild and crazy Europeans!) Actually, I think they’ve changed the name up but it’s this very deep, mid-sized Octa shaped soft box that produces an amazing, columnated quality of light. It’s soft, but it doesn’t spill or spread. Wonderful. Tried an over/under combo with Eric and Hope, who were terrific, enthusiastic newlywed subjects.
Those things will be a go to soft box for some time to come….
We had Day 8 of The Lighting Workshops, and I didn’t blog, so I really didn’t win my bet with Moose Peterson. He told me I wouldn’t blog every day, but I did for 7 straight days. Sheesh. I don’t know Moose and Scott Kelby do it, cause I got plain knackered. Anway, we were once again blessed with Jasmine’s presence, who is so effortless in front of the camera as to just about defy gravity.
Used a few different approaches to this, mostly starting with the Ezy Box Hot Shot soft box, and then upping the ante to run through a 3×6 Lastolite diffuser panel, if my memory serves. Had low bounce, or floor skip going as well. The bigger 3×6 really smoothed out the light.
Jasmine works so well, we succumbed to plain old natural daylight for a bit. What a great studio…
And then messed with a Honl gridded, SB-900 through a Tri-grip diffuser. Made it soft, but didn’t allow the light to spread and wash out the shadow pattern on the wall.
And Cara came by, FOL (friend of Lynn). She had a great soulful presence so we lit her really simply, with one SB unit through a Tri-grip, camera left.
Phil came back as well and this light is an Elinchrom Ranger with a long throw reflector, about 79-80′ from him, one story down, in the parking lot. Great light. Love dirty windows.
We’re thinking about doing it again this summer. Stay tuned….More tk….