We really gave small flashes a run for their money at the one day workshops over the weekend. Kristen showed up and it seemed like a good idea to put her in this wash basin. It was a difficult setup , and at the end, we were totally drained. (I’m goin’ straight to hell for that one.)
Actually it was easy. The existing light pattern was already pleasing. All we had to do was supplement light, gently, which is where TTL really shines. There are two SB900 units overhead, through a 3×3 Lastolite panel, and another, very low power, bounced off a silver reflector on the floor. Add Kristin, with her bubbly (I deserve a beating now) presence in front of the lens, and we were done. Clean light. Ouch.
Onto more water sports. Nathalia in the same location, this time with a Elinchrom Ranger ring flash. Ring flashes are cool, in small doses. Considering it is used mostly by orthodontists, it is a light with specific intent, and should be used sparingly, and carefully. Keep it beam onto your subject, and make those hard shadows it produces disappear exactly behind them.
Then Aaron, who is just an amazing physical presence, stepped in front the lens. We are on the second floor of this building, not a particularly conducive height to lighting from the outside, but I had a notion we could push two SB900 units to the max, so we put a hi roller out there by the railroad tracks, about 50 or 60 feet from the windows. Hi rollers, or hi-boys, or hi-hi’s, go to 24 or so feet. Seemed mildy demented to put two of these tiny flashes on the end of a stick that can support a big ass movie light, but in the interest of ongoing experimentation, it was potentially worth the effort.
Of course, some issues presented. Aaron’s main light is an EzyBox Hot Shoe soft box, camera left, boomed up and away from him. We had to trigger that interior light along with the exterior set of 900′s. Hmmmm….. Took two SC-29 cables and hooked them together, and ran it to another 900 on a stand, camera right, out of frame. That way, the TTL signal raked across the soft box light and continued outside to the pair on the hi-boy. TTL control of lights inside and out. Cool. Not as cool as Aaron, but cool enough for the geek behind the camera. (Uh, that would be me.)
Other things had to get solved, too. See the shadow, camera right, on the floor. That’s a Lastolite 3×3, with an opaque reflector on it. Had to block the sunlight that was hitting Aaron. A Tri-grip did the job, but left a curved shadow on the floor. Forensic lightologists would immediately see this as the footprint of the photographer. “Lookee here, Sam, a curved shadow in the shape of a Tri-grip! Yep, and that shadow’s not two hours old. We’ll catch ‘im. Carrying all that gear, that sumbitch can’t get far on foot.” Spit tobacco juice on the floor.
So we went with the imperfect solution of the 3×3 cause it is rectilinear, and fits to a degree the grid pattern coming from the real sun that is hitting the floor. There’s also the touch of it on the far right wall. But it wasn’t gonna stop me from shooting this picture, one of my favorites of late. And, lighting this with 3 SB900 units, at these distances and scale….well, surprising just ain’t the word.
I also knew we were going here….
Moved the soft box down and to the left, and had Aaron basically look at it. But, you know one of the great things about working with Aaron? He shows up with Valarie, his girlfriend.
Now that, ladies and gentlemen, is a plus 2 EV smile. Valarie just walks in and lights up a room. She and Aaron are among the sweetest, most easy going and physically gifted people I have ever met. We were just jazzed by their presence on the set. Got me jumping, trying to show Nathalia how to get some hang time, which was perfectly ridiculous. Will is there on the set, aiming a cannon of a wind machine at us…..
Having fun in Dobbs. More tk.