Archives For lighting

alex prager's retro 60s lighting for fine art work on guess the lighting blog

ted sabarese photo lighting diagram of alex prager for guess the lighting blog

copyright, Alex Prager.

Alex is white-hot in the fine art world right now. She’s a self-taught photographer whose influences include William Eggleston, Alfred Hitchcock and David Lynch. He work usually involves 1960s-styled women, lots of wigs and fantastic use of color. This 2009 shot entitled Rachel and Friends is both gripping and eerie. It was created with five lights.

Camera: Contax 645 with 55mm lens and Kodak 400vc Portra film, set on a tripod 6 feet back. Shot at 1/60, f4, ISO 400.

Lighting: The key lights on rachel and friends in the front row are Arri 6000 watt fresnel HMIs with barn doors set on a medium roller 8 feet to camera right and right. The left sits high and the right is at about head-level. Another 6k fresnel with barn doors is 10 feet to camera left, just in front of the second row. A third 6k fresnel with barn doors is sitting high, in the rear right of frame, aimed downwards. This forms the hair lights on the women in the back of the image. A smaller, 1.2k Arri fresnel HMI is set just off the ground to camera right. This creates the nice glow on the woman’s face in the third row.

Comments: Rachel produced this image on her own dime so tried to save money wherever possible. Since there was a lot of talent, she didn’t want to buy wigs for everyone. Instead, she cast people who already had the 60s look working for them (one of the more unusual women believed it was still 1969). Only one person in the shot is wearing a wig. Any guesses as to who it is?

bjorn iooss' photo lighting of irina shayk for si swimsuit cover on guess the lighting

ted sabarese photo lighting diagram of irina shayk swimsuit on guess the lighting

copyright, Bjorn Iooss.

Many, many, many people get excited for the annual release of the S.I. swimsuit issue. But this year, no one is more excited than Bjorn (son of famous sports photographer, Walter). This shot of Irina was an add-on: an image possibly for an advertorial. Never intended for the cover shot. But some early morning sun, a little lycra, sand and a Russian supermodel earned him the honor. No lights were used, only one silver reflector.

Camera: Canon 1Ds Mark III with 24-70mm lens, handheld six feet back. Shot at 1/60, f5.6, ISO 100.

Lighting: The Hawaiian sun has just risen over the horizon to camera left. Bjorn cuts back on the contrast with a large silver reflector placed just out of frame to camera right. The horde of people standing around aren’t there for him. They’re all for Irina.

Comments: Though located on a secluded beach, this shoot wasn’t without incident. While Irina was changing bathing suits, a junior stylist noticed a man hiding in a garbage can trying to take pictures. She immediately called security and covered Irina in a towel. When the police arrived, the culprit turned out to be Mel Gibson. He was researching for an upcoming role as a desperate paparazzo needing $1M to save his estranged daughter from kidnappers. The mixup was quickly straightened out and Mel, Irina and Bjorn laughed about it over a friendly, three-way game of Kadima. No charges were pressed.

craig cutler's photo lighting for heineken ad on guess the lighting blog

ted sabarese photo lighting diagram for heineken ad on guess the lighting blog

copyright, Craig Cutler.

Craig is a master of lighting. He’ll light a bottle of booze for three days until it’s “just right.” This shot is a departure from his typically fastidious nature. It’s raw. It’s a little sloppy. You can smell it like a scratch-n-sniff. Kudos to Craig for getting out of his comfort zone and driving home the point that it’s all about the beer. Done with 2 strobes.

Camera: Sinar p2 4×5 with Schneider 150mm Apo-Symmar and Kodak Portra VC 160 film, set on a tripod 8 feet back. Shot at 1/60, F32, ISO 100 (pulled 1/2 stop).

Lighting: The key light is an on-camera ring light at f22 1/2 (-1/2 stop). A standard reflector at f32 1/2 (+1/2 stop) is bounced up against the cabinetry (I’m guessing there are some above the sink) from camera left to break up the flatness.

Comments: It took over 4 hours for the stylist to make the food look as perfectly horrendous as it does. Not surprisingly, nobody had much of an appetite by lunch time and drank luke-warm Amstels in lieu of food.

mark seliger's photo lighting of shatner on guess the lighting blog

ted sabarese photo lighting diagram of shatner on guess the lighting blog

copyright, Mark Seliger.

There’s something about this image I just love. It could be Shatner’s complete commitment to his character. Or that he might be the closest thing to a modern-day cowboy we have. I’m not sure. But Seliger has captured the indescribable perfectly. And with only one light (plus some late-day sun).

Camera: Mamiya RZ67 with Phase One P45 digital back and 110mm lens, handheld 12 feet back. Shot at 1/125, f5.6, ISO 50.

Lighting: With the sun beginning to dip behind the treeline, Mark didn’t have much time to capture this shot. The key light is a medium softbox at f5.6 set high and six feet to camera right. The ambient light is at f4. There’s definitely quite a bit of post work here, too.

Comments: On three different occasions, Mark caught Shatner replacing the blank ammo with live shells. When the once Captain Kirk was taking a bathroom break, the prop stylist removed the firing pins from the pistols, just to be on the safe side.

professional photographer magazine heidi klum on guess the lighting blog

One thing that’s happened during my hiatus is pretty cool. After many emails and a couple phone conversations, the editors at Professional Photographer Magazine in the UK have asked me to contribute monthly. Starting in this February’s issue, I’ll have a new GTL page in print with completely exclusive content (sorry, you won’t find those guesses here). Pretty exciting stuff.

If you’d like to subscribe to Professional Photographer (which is a top photo mag even before adding GTL), you can do it here.

Special thanks to editor Grant Scott for reaching out and giving me such a super opportunity. He also has a photography blog with thoughts, observations and tales from the world of professional photography: Dreams, Themes and Photography Schemes.

gary salter's photo lighting of elderly footballers on guess the lighting blog

ted sabarese photo lighting diagram of gary salter on guess the lighting blog

copyright, Gary Salter.

Gary’s well-conceived and beautifully-lit image illustrates the aftermath of a seriously-senior football match. Every detail is accounted for (I personally love the prosthetic leg hanging off the back wall) and the casting is superb. Gary shot this with 5 lights.

You can see a higher-res version here.

Camera: Canon 1Ds Mark III with 35mm lens, set on a tripod 8 feet back. Shot at 1/125, f11, ISO 100.

Lighting: The key light on our foreground hero and his blood pressure-checking teammate is a medium softbox at f11 boomed high above and slightly to camera right of the pair. A silver beauty dish at f16 (+1 stop) is high out of frame to camera right and positioned half way between camera and the rear wall. This produces the strong highlights atop their heads and their sides. Another beauty dish at f11 is boomed from camera right five feet off the rear wall and aimed toward the players resting on the back bench. A 7” reflector at f16 (+1 stop) is boomed in from camera left near the rear wall and is aimed downward and left. The fill comes from a magnum reflector at f5.6 (-2 stops) shot through a 6’x6’ silk, positioned six feet to camera left.

Comments: An avid footballer and fantasy football coach himself, Gary named the squad “Zimmer” for a not-so-random reason. Barry Zimmer’s fantasy team had badly beaten Gary’s two weeks prior. And Zimmer, never a gracious winner, made sure to rub Gary’s nose in it.

Payback is a bitch, Barry.

michael thompson's photo lighting of juliianne moore on guess the lighting

The Grand Odalisque on guess the lighting blog

ted sabarese photo lighting diagram of odalisque on guess the lighting blog

copyright, Michael Thompson.

This portrait taken in 2003 for the cover of American Photograph magazine pays tribute to Jean-Auguste Ingres’ famous 19th-century painting La Grande Adalisque. Michael was originally supposed to shoot Julianne in a couture dress, but was so inspired by her flawless skin he switched directions. To this day, there is much debate over which is sexier. My two cents: who cares?

This is lit with one (count it, one) light.

Camera: Pentax 67 II with 90mm lens and Kodak Portra 160 film, set on a tripod 10 feet back. Shot at 1/30, f8, ISO 100.

Lighting: The key light is a large octabank at f8 set eight feet to camera left and slightly in front. Michael added an extra diffuser to soften the light even more.

Comments: The final select here was taken moments before the scraggly tree caught on fire (the prop stylist had positioned it too close to the oil lamp). Which then fell into the blue curtain, which set ablaze. No one was hurt and the fire was quickly extinguished, but many happy onlookers ogled in joy as a naked Julianne Moore ran outside the studio. “Wow, she really does have amazing skin,” was heard more than once.

mert & marcus' photo lighting interview mag for guess the lighting

ted sabarese photo lighting diagram diane kruger on guess the lighting blog

copyright, Mert & Marcus.

This shot from the September 2009 issue of Interview Magazine mixes the provocative fashion of Eyes Wide Shut with German military regalia. Like only M&M can do. It was created with 4 lights.

*Special thanks to Alex MacPherson for the suggestion.

Camera: Hasselblad 553 ELX with Phase One P45 digital back and 80mm lens, handheld 10 feet back. Shot at 1/125, f8, ISO 100.

Lighting: Since this image relies more on shadow than light, the key is actually a silver umbrella at f16 (+2 stops) to camera left of Diane and slightly behind her. A large Octabank at f2.8 1/2 (-2.5 stops) behind camera serves as overall fill. Two small strip lights, both at f8, are behind Diane to the left and right. These are aimed down at the floor and provide some separation from the rear wall.

Comments: Fresh off the Inglourious Basterds set as Bridget von Hammersmark, Diane was constantly pressed for some good Tarantino gossip. She wouldn’t tell anyone about Quentin’s love life or if they got together while shooting, but she did finally find out what was in that briefcase in Pulp Fiction. Apparently after drinking one too many black russians, Quentin confessed that the golden glow wasn’t Marcellus’ soul or anything deep like that; but, an Oscar statue he assumed he’d win later that year.

Okay, this isn’t a lighting guess. But it’s pretty funny. And somehow seems to fits in here. Maybe I have it all wrong. Maybe everyone just uses the Lumix. Or not.

tony d'orio's photo lighting of baby for Huggies ad on guess the lighting blog

ted sabarese photo lighting diagram of tony d'orio on guess the lighting blog

copyright, Tony D’Orio.

This ad for Huggies wipes portrays the young, otherwise cute baby as a serious, demanding, won’t-take-no-for-an-answer CEO of his parents’ lives. I think this matches a pose Lee Iacocca made for Forbes Magazine back in the 80s and was created with 3 lights.

Camera: Hasselblad H1 with Phase One P45+ back and 80mm lens, set on a tripod 5 feet back. Shot at 1/125, f11, ISO 100.

Lighting: The key light is a small softbox at f11 boomed directly overhead of the baby and aimed straight down. This creates the contrast and the dark eyes (very unique for baby photography). A white beauty dish at f4 1/2 (-2 1/2 stops) is boomed above the camera and serves as a slight fill. A standard reflector at f16 (+1 stop) is sitting low on the ground behind the boy and aimed upward at the backdrop. This creates the glowing gradient.

Comments: Tony had four, 3-month-olds on set, but this boy instantly became the star. Though he couldn’t yet speak, his body language talked at great lengths about his disappointment with the prosecution’s handling of the Enron scandal, the differences between a 10 and 18-year-old scotch and how derivatives weren’t the devil they were made out to be by the liberal media.