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Tag : fresnel

02 Aug 2018

Evolv200s, Xplor600s, 600Pro, Saberstrip v2s on location

People always get so nervous when they see how I hold my cameras! I hate straps. LOL!!!

Shooting as a pro means there are times when you have to prove yourself once again with an established client. Not doing a great job either in the finished product or through your service simply means you’re not used again. One of my long standing clients, Village Theatre recently changed Artistic Directors. Jerry Dixon, their new AD planned to attend two of the three on location publicity shoots all to be held in different cities in greater Seattle area. The first session for the play Curious Incidents is also the play he is directing. No pressure eh? LOL

The second aspect of this day that is always a bit concerning was that I NEVER SAW ANY OF THE VENUES IN ADVANCE of the day! Sure the Marketing Director sent me some camera phone photos and links to the MOPOP (Museum of Pop Culture) areas where she wanted to shoot, but I had never been there. Nor had I been to Spangler Book Exchange/Reread Books, the quaint bookstore where we were to shoot the Matilda publicity or the alley in Everett where I’d shoot the Howard Barnes publicity. Add to that the additional element of time. For each venue we were limited in time based on either the schedule of some of the talent or due to the venue’s prior commitments.

The only element I ever insist on from clients is to answer; “What is the mood you want from each session?” Why? Well because the expression of the talent(s) and the LIGHT is something I have to plan for BEFORE I hit the job….which leads me to….

The Marketing Director kept asking me “Mark, I need to know your power requirements for each venue so I can work with each of the operations managers to plan power for your gear.” Since I exclusively use Flashpoint strobes, guess what….they need no outside power!!! SCORE! I hauled seven, yes seven strobes from SF to SEA in a small Pelican case. 49.5 pounds…just UNDER the 50 lbs. limit! Three Xplor600s, one 600Pro and three Evolv200s! I split the four 600 batteries between me and my partner’s carry on camera bags instead of inside checked luggage to save weight (btw I always put gaff tape over the contacts of the batteries just in case…). All of the stands were rented in Seattle and for the smoke I advance shipped smoke grenades to the Marketing Director. It takes planning folks….LOL

For modifiers I took three v2 Saberstrips which use Evolv200s with their Fresnel heads. I cannot speak highly enough about both the Evolvs and the new Saberstrips. Together they create what I view as a revolutionary combination in camera lighting. Yeah they’re that good. I knew that both the MOPOP and the bookstore sessions would be VERY CRAMPED in terms of space. Using “traditional” modifiers or strobes would be a total pain in the ass. Sure it could be done, but would easily have been a 10/10 on my cussing scale. I knew I wanted a softer light for both the MOPOP and bookstore feeling, but a hard light in the alley. So I took three Fresnel modifiers for that session. All of my modifiers fit into my SKB hard sided golf case which I use to transport my light modifiers when traveling out of town.

So here’s how it all worked: (All of the BTS images are by my partner Tracy Martin)

Session 1, Curious Incident shoot at MOPOP

The Marketing Director wanted an image in MOPOP where the talent appears to be ‘inside’ a dream. So placing modifiers INSIDE this structure for the style of light I wanted to achieve would have been next to impossible without the Evolv200 and the v2 Saberstrip.

One of the final images before editing.

Using the Evolv200 and the Saberstrip to create the feeling of an overhead light source WITHOUT the need for a boom arm is wonderful. Almost all of the other modifiers I own would need to be tilted at an angle to face toward the ground without a boom arm. The Key light is a the Explor600 Pro with a Fresnel head modifier to my right next to the tower structure.

Final shot. Balancing the light to not overpower the hand held flashlight was key for this image. Had I only used the Fresnel pointing at the talent it would not give the impression of an overhead light which was key to this shot.

Session 2 for Matilda at ReRead Bookstore

About 20 people were in this tiny quaint bookstore just for this shoot! I think the actual customers were highly entertained. (They were taking iPhone photos of us! LOL) Here the Marketing staff and the talent review some of the images on my iPad.

Marketing looks over the shots in real time. As you can see the Saberstrip was invaluable in this session. Soft light, yet so good in tight spaces! I love it!!!

Jerry the AD attends to the details. I feel we made a great team since I sometimes miss the small but so important details when I’m in a session.

Ah I cannot say enough about the value of the Evolv200s paired with the v2 Saberstrips!!!!

A few of the Final Images

Session 3 for Howard Barnes in an alley in Everett WA

I laughed as I watched people walking by! They had no idea what to make of what was going on. Oh and that puppet freaked me out!

The Director of Howard Barnes is my light test fella. This is the alley in ‘natural light.’

The talent just yucking it up while I balance the smoke lights. Oh and if you’ve ever worked with smoke it’s great when there’s no wind…..LOL

A few of the Final Images

So cool that wind was coming up from that ground grate so her tail would fly!

Four Xplor600s and two Evolv200s lit this shot. Whew!

I was so shocked to see an article written by James Spangler the owner of ReRead Books where we shot the Matilda publicity! All if not most photographers know that getting feedback is rare so this was both a nice and humbling surprise. My whole point on this post is to highlight the incredible leap in technology and innovation in the field of photographic lighting. Sure all of us can figure out how to do something even if it’s tough. But to have others who are helping to ease the stress of creating beautiful light is wonderful!

25 Feb 2018

On location with the AD200s and AD-B2s

I was asked to create some trombonist’s imagery for his upcoming Fall 2018 CD release. I’m not a fan of doing classical musician’s portraits simply because most of the time they just want a head shot with their instrument….YAWN! I often refer them to other photographers as I have little interest in that type of photography. But both the musician and his marketing director agreed to allow me the freedom to art direct the shoot so I agreed. 

Having worked with a number of symphonies I am well aware that there is a good natured (sometimes not so good natured!) rivalry between strings, percussion and brass players. So I thought that creating his portrait on the beach over a string instrument bonfire would be so appropriate and fun! Most important – it matches his personality! I had an old cello I had cut to photograph the interior for a different shoot years ago along with a prop violin that I was willing to burn. They flew into San Francisco from Nashville and we were off to the beach!

My decision for photography gear was to use my AD200s and the AD-B2s I own. Plenty of light and easily transportable since I had to lug all of the gear onto the beach. (I HATE lugging!) For the modifiers I used Aputure Fresnel heads as I love their focusing ability and those modifiers would match the style of light I wanted for the session. They’re also dead easy to gel and grid too.

How the scene appears just before sunset in natural light.

Quick light test before all the fun begins. His marketing person was going to eat all of the marshmallows before we began! She apparently LOVES them! 

It’s always fun to let the talent look at my iPad which is wirelessly tethered to my camera. I find it helps relax people as I’m setting up the session.

Yet another light test to ensure the marshmallows are well lit! Hahahahaha

Ah the smell of burning string instruments! What could warm a brass player’s heart more than that?

A fun shot for the back of the jewel case.

The AD200s mated to the AD-B2s are remarkable pieces of gear. So portable and so versatile. I love the flexibility they allow me both in studio and on location. Why not use my AD600s? I believe in using the right tool for the right job. The 600s would have been overkill from a power standpoint and much heavier to lug onto the beach.