I was working on location this week, where we were doing some corporate portraiture. When I met the photographer outside the office building we were shooting in, he had just three bags — a long case for stands and softboxes and umbrellas, a pelican case for a couple monoblocks, and his camera bag. I had never worked with this photographer before, so I wasn’t exactly sure what the game-plan was. Even though I had a basic idea of what our shoot would entail, I wasn’t completely dialed in on specifics. I never worry about this situation though, because usually, if the photographer hasn’t given you the run-down on the job or provided a production book or shot-list, it just means that there are only a couple nuts and bolts to tighten and things should be relatively easy. But, when I saw just the three bags I couldn’t help but asking myself if the photographer really needed an assistant for this job.
Well, of course, the answer is yes, he did. What I didn’t know was that the lobby area we were shooting in had very limited angles and looks, despite its large size. Not only were we doing basic environmental portraits, but also creating images that would fit into a layout. We had to be very crafty with the look and feel of these images so they didn’t look posed or contrived. The photographer opted for a simple two light set-up along with a sunbounce reflector. This allowed us more freedom to concentrate on a simple, elegant look, focusing on our backgrounds and talent, along with composition and angles. We had plenty of employees to photograph and two art-directors to keep happy at the same time. So, despite the seeming ease of this shoot, we definitely had our hands full. Even when I wasn’t busy, I was usually watching out for hall traffic so they wouldn’t knock into our background umbrella, while they had their face buried in their cell phone.
The lighting was technically simple, but not without some special tweaks. We used a Profoto D1 in a medium softbox as a key, angled a bit into a ten-foot ceiling, and set about 3/4 to talent. We rigged a small dull silver sunbounce reflector on the opposite fill side for talent. We did a lot of subtle feathering with our key and bounce to get a very natural look. The background was a small Profoto white umbrella that we kept partially closed to create a narrower, focused stream of light, filling dark background spaces or throwing a splash of light across a floor or wall. Having this simple lighting set-up allowed us the freedom to get the right angles for our compositions as they related to the backgrounds.
I have always believed in the less is more principle. It is not always applicable, but this was definitely one job that it was almost mandatory. It isn’t always ideal, depending on the shoot, and you almost always have to make some concessions. But, depending on your budget, shoot schedule, and location, you can usually make a very simple lighting set-up work great if you give it some careful consideration and planning.