Artificial light. It took me until 2015 to start appreciating it (after picking up a camera back in 2008 or so obsessively) and it kind of took until mid 2018 to start to understand that artifical light on location isn't necessarily a bad or "not-my-aesthetic-thing" but simply yet another technique I needed to master and shape to my aesthetics and vision.
Location was for a long time non-existing for me; I simply didn't like it anymore as I couldn't get the same results I had like in my (what has become my trademark) studio set-ups and I just felt stuck and in a rut. Simply put. It's not that I disliked it, it just didn't feel like what I was doing or know for and you know; at one point studio was just so much easier as I wasn't left to the mercy of my weather gods here in Belgium.
But there came my broncolor GenNEXT program. And my smart-thinking of "maybe I should get battery powered gear" just in case of client work and I needed to travel around. Instant studio. So after that, I realised this also allowed me to go outside WITH LIGHTS. Allright so. I did that, it was some mixed results at first and I felt I was falling in that category of artificial-light-shooters that where the complete opposite of my style and taste. But after some winging and pretending I know what I was doing, I suddenly realised it was not only completely possible to get that to work; but I started to see some glimpse of how I could make artificial light a major fun thing in my on-location work.
And so it begun: I actually shot three (!) separate sessions for my upcoming GenNEXT blog I liked the first one I shot (inspired by Game Of Thrones) but I felt it lacked a consistency in the theme. The second was inspired by my ongoing "Requiem" series - but due to an oversight at my side of not realising smoke bombs & wind aren't a great combo, the results where practically not to my liking yet again. And then: I came home from an awesome meeting of a job I'm shooting tomorrow and I passed by these giant trees filled with blossoms. Flashback to 2015, of a gorgeous model on a ladder in the middle of those, I put together this double-model-session complete with makeup artists in less then 24 hours and shot the story about a day later in no-time.
It worked out. I'm incredibly proud of these results because this is the first time I feel I touched on the real possibilities that this mixing of artificial and natural light may hold for me and I'm so hyped to have discovered this in mid april, with the entire summer to play around with it ahead. Sure there is still plenty to learn, after almost 4 years of working non-stop in the studio I just feel I've scratched it's surface of what's possible. But it's cool to feel like I made progress in a whole new genre and technique I can use to create my work with.
Side by side you can see the immense impact a SINGLE broncolor Siros with colorgels had on the set. On the left are 2 when the flash didn't trigger; but the other two are lit with either a teal or a purple gel. How utterly fantastic are these straight out of camera already?! I haven't done any editing on them, so the entire raw-processing, color toning and drawing in lights and shadows are still to come!
I will cover all I know about this set in the upcoming article, but for now I hope you all enjoy this sneak peak!