It was impossible to do commercial photographic work with digital in the early years of this century because, you know, resolution and noise.
Primary Packaging. New York. "A Chanel Press Sheet".
The pendulum swings. We revered available light. Then everything got lit with big softboxes. Then we revered available light. Then we lit things with lots of small flashes. Now were heading back to our reverence for available light. When I went on this job in NYC I took a few lights and some umbrellas with which to modify them. But the entire factory was lit by white, translucent windows that ran the whole length of the building. You can see the windows in the background. The rest of the plant was suffused with a mix of skylights and florescent lights. The light had a direction and texture that was so rich you could reach out and taste it.
We carted the lighting stuff around but we only used it for a few images done in conventional offices on a different floor. On the press floor it was all about the unguent, luscious light. It was a job that changed my point of view about lighting. For the first time I realized how important it could be not to light. And I loved that. That's when I discovered my abiding love for tripods. That's next.