There is something I like with cinema lighting, or lighting for television, when they tend to have faces painted with just two tones of the same skin colour. This might sound strange when I try to explain it, I blame it on not having English as my first language. What I am trying to say is; I like interesting shadows.
For this portrait, a headshot for an author I did a couple of weeks ago, I tried to balance the key and the fill light so there would be one half of the portrait in a lighter skin tone, and the other in a darker.
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I must admit, group shots are not my favorite thing to do on assignments, but many clients wants one, and to say no would be just stupid.
Sometimes, when there are more than five persons in a group, and/or the room/place offers no really good distance, background or lighting condition, I play it safe and tell the client that the group shot probably will be a bit boring. And sometimes the simplest solution is the best solution, lighting-wise.
The easiest way to light a group…
After waiting almost nine months, Beppe and Hannes are finally out. Our family went from small to big overnight, and now the juggling begins.
I will try to stay at home as long as I can, two kids needs a lot of hands.
I mostly work alone, but I rent a desk in a house full of nice people doing different stuff. Some are copywriters, some write code, some are art directors and the rest work as project managers and planning production. We all work on different projects for different clients, but share a house, so we really should have portraits in a similar style to present ourselves with.
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Or maybe it was just an excuse for me to try out a different light setup with my brand new Molton fabric and two Profoto D1? I got more or less cooperative models, and they got new profile pictures.
Molton, a 5-foot Octa and a beauty dish…
I usually don’t let my light modifiers be a part of my portraits, sometimes I have to clone out the corner of a reflector panel or crop to get rid of a softbox that was placed very close to the model.
For this portrait of a Swedish authour and illustrator, we tried a lot of different angles, the white Profoto Softlight Reflector (a beauty dish) was first just used as hair light, placed very close to the background, out of frame. When I changed my position a bit, it became a part of the portrait.
Moving around in the studio can give new results…
