Leaning heavily on the Elinchrom Ranger Pack this month. If it's not the need for power it's the need for enough power and fast recycling. Over and over again.
I think it's funny how some photographers use the same exact gear for everything they do while others use different gear all the time. I count myself in the second camp and I'm starting to see a pattern in my use of lights. It starts when a client decides they need to do photographs outside with people. They want the people well lit and they want the lighting on the people to blend with the direct sunlight falling on everything else.
We bring out scrims or flags to take the direct sun off the subjects and then use a powerful flash in a nice softbox or umbrella to put more controlled and flattering light back on the subject. And since we need power without squinting and blinking we tend to use electronic flash. But the simple truth of Murphy's law is
This is me. Or at least it was me this past Spring on a rainy day inside Zach Theatre. I'm sure you're wondering why I am standing in the frame with a loony grin on my face and the word "dream" over might right shoulder. Well, I am not really trying to fill up my selfie portfolio, I am trying to make sure the lighting I've set up, and the composition I've set up for my interview with singer, Jennifer Halliday is exactly what we need and want for the video interview we'd be doing ten minutes later.
I was using four fluorescent light fixtures and trying to make sure that the levels were correct and that the color matched the look and feel of the background without any weird color casts. I'd arrived about 45 minutes before the interview was schedule to start and the first thing I did was to put up the camera I'd be using to record a 5 to 10 minute program. It was a Nikon D810 with and 85mm f1.8G lens. Once I had the background framed I started working on how I would frame Ms. Halliday. The next step was to put an "X" of gaffer's tape on the floor to market the "sweet spot" of the composition so I'd be able to move Ms. Halliday into place with a minimum of indecision.
When the composition and camera position were set I started setting up the lights, aiming for a nice bright interview area with lots of soft and flattering light. I've set up lots of portrait lights and interview lighting designs but I always want to see how the end product will look on a human face before I have my subjects walk into the set and get started. I think it's rude to do a lot of fine tuning while everyone waits on you. So I put the Nikon into its still mode, turn on the self timer and set it to a ten second delay, manually focus by intuition and then step onto the "X" on the floor.
A few seconds later and the shutter fires. Now I have an image I can look at, dissect, etc. which gives me a reference for fine-tuning the lighting, the composition and everything else. I might go back and forth to the camera a handful of times doing an iterative process of correcting and verifying, correcting and verifying, until I am satisfied that what I've done will work for the job.
I leave all the lights on while waiting for the subject to arrive. I want the room to appear as it will be throughout the interview. No changes = less resistance. Once we've got the tech set I do one more self-timer shot to double check all the final adjustments and then switch the camera over to video capture.
Lots of people work with crews of three or four (or more) people. I dislike having lots of people on sets. There are too many places for our subjects to look; too many eyelines, too many distractions. Certainly I'll bring along enough people to help if there are lots of moves to be made, lots of gear to be transported, and lots of things happening almost simultaneously, but I think a lot of photo and video shoots are wildly overpopulated by "staff" and that photographers and videographers are fooling themselves if they think having a bustling entourage is always helpful. A full room diminishes your hopes for any sort of intimacy or connection with your subject.
This is why the self-timer is an integral part of my set up. It allows me to have control over the look and feel of my lighting and composition without the need for a bevy of warm bodies wandering about the sets.
The way I like to work is very dependent on one thing in particular: I want all the set up, the sausage making, to happen before my subject(s) steps into the room. An actor, model or real life human should be able to walk into your shooting environment, find their mark and do their part of the job without waiting for you to get ready. I guarantee that this sort of pre-production makes everyone happier.
Self-timer. Set lighting. Composition. Finally, a constructive use for the "selfie."