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copyright, Eric Ogden.
You may have read/heard of/seen the movies All the Pretty Horses and No Country for Old Men. The books were written by Cormac McCarthy – a southern, literary phenom (and Pulitzer Prize winner) who has been compared to Faulkner and Melville, but maybe better. The probability is high that you haven’t heard of his earlier work, though. Titles like Suttree, Blood Meridian, Child of God and Outer Dark. Critically acclaimed novels that had absolutely no commercial success. When I was introduced to these works years ago, they rocked my world. In a good way. I have been one of McCarthy’s biggest fans ever since.
Now know that Cormac is a strange guy. Other than writing about topics like sibling incest, necrophilia and Indian scalp bounty hunting, he is famous for how little we’ve seen or heard from him. He’s a J.D. Salinger-level recluse. In his entire life, he’s given just three interviews and I don’t believe had ever sat for a formal portrait until this 2007 shot by Eric Ogden for Time Magazine.
Why did Cormac wait until then? Not sure, exactly. But the reason for this shot was his collaboration with the Coen brothers on the Academy Award-winning No Country. I was excited to see that Time chose Eric for this story. His photo lighting is dramatic, powerful and portrays Cormac as the bad-ass he is (well, at least in my mind). This shot was created with 3 lights and the soundtrack to The Good, The Bad and The Ugly on continuous loop.
Lighting: Though seemingly straightforward, the layered lighting has some delicate nuance. The key light is a standard 7-inch, gridded reflector at f16 1/2 (+1 1/2 stops) 8 feet to camera left, slightly behind Cormac and just above his head. This light creates the strong facial highlights and draws the viewer’s eye directly there. The fill light is a large softbox at f5.6 (-1 stop) high and directly behind camera. A small, gridded softbox at f11 is boomed in from camera left directly above Cormac’s head, acting as a hair light.
Comments: After a lengthy kale frittata discussion on the correct ratio of egg to heavy cream (nope, not whole milk), Cormac engaged Eric in an impromptu staring contest. The two of stood just feet apart, for what some say was near 8 minutes, before Eric finally yelled “uncle” and blinked. At which point Cormac continued staring, cracked his knuckles and began to sing Prince’s When Doves Cry.
copyright, Professional Photographer Magazine.
I’m a sucker for a list. Especially one that comments on the most influential photographers of all time. You can see the full PP list here. I’d love to hear what you think. Any glaring omissions? People too high or low? I’d also be willing to guess lighting on any of these photographers (many of whom are already on the pages of GTL), so if you have a fave or two, send them my way.
copyright, Art Streiber.
If you haven’t seen Alfred Hitchcock’s North by Northwest, get yourself a Netflix account and block out tomorrow night for some old time movie watching (two bowls of popcorn should do the trick). The crop duster scene is riveting. And demonstrates that, in 1959, a master director like Hitchcock could create an action scene comparable to anything possible today. Without the need for those really expensive computer graphics.
On a side note, that’s one sexy mutha of a suit, Cary.
But I digress. On to the lighting. Art Streiber was tapped in 2008 to help shoot Vanity Fair’s 14th annual “Hollywood” issue, an homage to Hitchcock featuring recreations of 11 of his most iconic scenes. Art was assigned this shot (one of my favorites of his) and nailed each and every detail of the original. Right down to having Seth Rogen’s replica suit recreated by the same tailor of the original (oh, and yes, that’s also a real biplane, shot in-camera). Art used 2 lights and some early morning westerly sun to create this jealousy-inducing image.
DSLR, with 85mm f1.2 lens.(revised due to sync-speed comment below from Matt) Medium format, digital, with 150mm lens. Set on a tripod mounted to the back of a flatbed truck. Shot at 1/1000 1/800, f16, ISO 200.
Lighting: This shot’s lighting challenge was to balance the fill flash on the front of Seth’s body with the strong sunlight to camera left. Art uses two generators on the truck to power the two, 2400 watt packs. Two magnum reflectors at f11 (-1 stop) are staggered on one c-stand and set high, just to camera left. The sun is directly to camera left of Seth at f32 (+2 stops) and lends those gorgeous highlights.
Comments: Seth is not – by profession, hobby or genetics – a runner kind of guy. He’s a hilarious actor and that’s where he excels. To ensure Seth gave it his 110% and sprinted away from the plane on every take, Art hired a local dog trainer. She brought three, male Rottweilers, none of which were overly fond of runners, to set. Without any leashes.
copyright, Nadav Kander.
Back in August of 2011, New York Magazine hired Nadav to shoot both Brad and Jonah Hill. The reason? A little film called Moneyball, the true story of Oakland A’s general manager Bill Beane who used quantitative analysis and computers to build a winning team and fight huge payroll inequities. The film almost didn’t make it to screen (to learn why, go here). It took nearly 10 years, 3 directors and 3 producers to complete, with Brad jumping on board in 2007 and seeing the film through.
Nadav managed to shoot this compelling portrait in 1 day, in 1 studio but with 5 lights.
Lighting: The key light is a gridded, white beauty dish at f11 (+ 1/2 stop) set high and 10 feet to camera left. Nadav was careful to position it precisely, keeping both of Brad’s eyes in the light. No fill light was used to ensure the strong contrast between light and shadow, which is pretty freakin’ killer. Behind v-flats (black side out) two white umbrellas attached to a c-stand at f8 (- 1/2 stop) were set behind brad to camera left and right. This creates the perfectly flat background. Now, quite a bit of post work was required to get this final look, but that’s a whole different blog.
Comments: It’s well-documented how Brad goodheartedly, yet relentlessly, pranked Jonah during filming. Let’s see. There was the giant, male genitalia placed on the back of his car before Jonah drove home on the freeway. Brad also shrink-wrapped Jonah’s golf cart bright pink (yes, movie stars get their own cart to cruise around the sets).
So for this shoot, Jonah decided he’d get a little payback, conspiring with Nadav and stylist Cheryl Konteh. When Brad arrived at the studio, they brought him through his wardrobe for the first shot: Black leather thong and matching tube top. Brad’s jaw dropped to the floor, but being a good sport and bowing to Nadav’s expertise, he took the outfit and changed in the dressing room. When Brad walked on to set donning his leather, Jonah jumped out, took a pic with his iPhone and yelled, “this is so going on my Facebook page, man. I mean, I think it is. Unless you don’t want me too. Okay, I’m deleting it now. Sorry, Brad.”
If you live in NYC, anywhere near it, have visited, watch the news or have orbited earth from a space shuttle, chances are you’ve seen the two, extraordinary beams of blue light cast in remembrance of the September 11 attacks.
I was here that day in 2001 and watched from the roof of my apartment building as the Trade Centers fell. I remember vividly my feelings of sadness, fear and confusion. I also remember how, in the following days and months, New Yorkers came together like nothing I’d experienced previously. It was a different place in so many ways.
It’s funny how the little things have ingrained themselves in my memory. There was an eerie silence as cars no longer honked their horns. Instead of walking quickly on the streets, head down, you looked others in the eye and said hello. It was okay to smile silently at a stranger as you both searched a wall filled with pictures of the missing. People said thank you and please. And everyone helped others in any way they could to find normalcy again, in such a trying time. Thinking back, as I do every year, makes me proud of New York City and the people who live here.
And that leads me to these blue lights.
Not that I ever forget, but the Tribute in Light helps inform me that it’s time again to remember and reflect. I thought it would be fitting for Guess the Lighting to reveal how the installation was designed, using 88 lights.
Lighting: The art installation, produced annually by the Municipal Art Society of New York, uses 88 search lights to create the two, vertical columns of light. The beams reach more than 4 miles into the sky. This was originally supposed to be a temporary exhibit but has continued on. There are two, high-intensity light squares incorporating 44 search lights in each. Since 2008, the Tribute of Light has been powered by generators running on biodiesel fuel made from recycled cooking oil.
Comments: The intensity of the lights has been a problem with thousands of migrating birds. Many of them become trapped in the beams and will not fly out. To ensure the birds’ safety, the lights are switched off for twenty minute periods, allowing them to escape.
copyright, Victor Demarchelier.
When your pop is Patrick Demarchelier, you’ve got some photo juju at your disposal. After assisting his dad for a bit, young Victor went out on his own in 2009 to shoot mostly models of the fashion variety. And if you’re up on your models, you know Ms. Jablonski is pretty big. Which may explain (or not) the 50-gallon hat she’s styled in for this September 2012 Harper’s Bazaar Australia cover. Vincent lit this image with 2 lights and a hat wrangler.
*Thanks to Dennis Zeitz for sending me this image.
Lighting: To achieve this extremely flattering, soft light, Vincent pulled a page from his dad’s playbook. The Key light is a medium octabank at f11, just above head height and 6 feet to camera right. You can see that the light is not very high since it Constance’s hat doesn’t cast much of a shadow on her face. A 7-inch grid reflector with 30 degree grid at f8 (-1 stop) is low and behind Connie to camera right. It’s aimed up at the center of the seamless to create the slight glow behind her. A black v-flat is just to camera left of Constance to create a strong shadow on that side.
Comments: Unbeknownst to many, Constance is quite the card. She arrived on set speaking not with her native French accent, but with a full-on Aussie one. She proceeded to teach the entire crew how to speak Australian and told Victor that she almost “chucked a sickie” because she was “chundering” all morning after a “cobber” fed her a few “icy poles” made with Vodka.
I always appreciate all the comments, recommendations and props I receive from GTL fans. But today in my inbox, Eric Doggett blew my mind.
Hi Ted -I love what you’ve done with GuessTheLighting, and I always enjoy each post.However, I felt that while you were great at giving out the lighting love, no one was returning the favor. So, I decided to break down your profile image myself.
Here’s what Eric had to say on his blog.
If you haven’t had a chance to check out GuessTheLighting.com, I recommend you give it a look (especially if you are into lighting like I am). Ted Sabarese runs the show over there, where he dissects images and offers his take on how he thought the lighting for an image was done.
Always entertaining and informative, it will give you a good primer on lighting if you are new to it. If you are a veteran it will offer you some great ways to think about how to light your next shoot. In any case, you will get a laugh with each post as Ted pontificates on the behind-the-scenes drama of a particular shoot.
So, in deference to Ted, I offer my own “Guess The Lighting” post to breakdown his bio picture:
Camera: Canon 5D Mark 2 with 50mm lens, on a tripod, remotely triggered from 5 feet away. Shot at 1/100, f5.6, ISO 800.
Lighting: Tungsten light bulb, camera right, 10 feet off the ground. Otherwise known as ‘porch light’. Ferrari headlight, camera left, 40 yards back.
Wardrobe: Nike hunter green parka with matching hoodie, 2006 (discontinued).
Comments: This image was taken at the winter home of Sean Connnery. On this rainy day, Ted was tasked with walking Mr. Connery from his house to the photo set (which involved a 2014 Ferrari concept car and a Louis Vitton bag). Ted managed to keep Mr. Connery dry for the 7 minute walk to the car (and its pre-activated heated leather seats).
Thanks again, Eric, for taking the time to post this (badass sketch, by the way).
So how do you think he did? Anyone care to comment?
copyright, Walter Iooss.
Over the years, Walter Iooss (pronounced “yose”) has captured just about every famous sports photograph to grace the pages of Sports Illustrated. His volume of work borders on the ridiculous. Check his website. Then pick your jaw up off the floor. And since bikini-donning is most definitely sport, it makes sense that SI tapped him (once again) to shoot this year’s models. Kate Upton did not break into swimsuit modeling through the normal channels. She posted a youtube video with her doing the “dougie” and over 4 million views later, she squeezed into what may be called a bikini for SI’s cover shot. God bless the internet. Oh, and in case you were wondering, Walter lit this with no lights other than the hot, Australian sun.
Lighting: Since it was early in the morning, Walter positioned Kate with the relatively low sun to camera right. An assistant held a 6×6 silk to help diffuse the hard light. At least twenty three stylists, makeup artists, hair stylists and random Sports illustrated employees are just out of frame to camera left.
Comments: After this shot was finished and the team was setting up the next one, a mature, female Great White was spotted just offshore. Kate’s natural instincts kicked in when she noticed a teenage boogie boarder unaware of the danger. She picked up a nearby shark harpoon and flung it at the White. She missed, but the teen did paddle in to safety to see why the “bikini hottie” (his words) was “getting all agro on such a chill morning.”
copyright, Albert Watson.
Steve Jobs was the man. In so many way. But he granted very few interviews and photo ops, apparently due to camera shyness and being uncomfortable in the public eye. With Steve’s passing, Albert Watson’s 2006 portrait catapulted to fame overnight. It became the defining image of the intense genius behind Apple’s rebirth. Originally color, the now b&w shot says what Steve knew all along: I’m going to revolutionize so much more than just computers. The image was created with three strobes.
Lighting: Albert is certainly old-school and this set-up is nothing shocking. The key light is a white umbrella at f32, high and six feet to camera left. Two umbrellas at f16 1/2 (-1 stop) are placed behind Steve to the left and right. They evenly light the background and remove any shadow there.
Comments: Before getting underway, Steve and Albert jabbered about computers, iPods and the future of the music industry. Still a fan of analog (cameras, records, etc.), Albert was still skeptical of keeping his entire music library on a tiny, electronic device. He did, however, think it would be cool to someday have a phone that would play music, keep appointments and help him track the sun’s trajectory during the day.