How it was lit: Wynvyre (part 2)

In my previous blog I shared the first part of this session I shot with some of my favorite people - while my original intent was to work with just one light on set; I found myself incredibly inspired by how everything came together and I wanted to try something I wanted to do and try for a while: how does light (the absence) of light affect a shoot when shooting the exact same concept and styling? How does color changes the mood? And what would happen if we add more lights to enhance details in hair and make-up?

This session was perfect for it - as it had a beatiful hairstyling by Eline that would look incredible when using some backlit light; with also the red of the dress being an amazing combination with teal, my favorite kind of colorgel to use. While our first set was a minimum set-up of only using one broncolor light and an octabox; I’ve used almost my entire set of lamps for the following session: a siros 800 with a softlight reflector, my picolight with a fresnel and the move 1200 l with the octabox. I also changed the backdrop from dark grey to black - as I wanted just a minimum of “color bleeding” to distract from my subject. Lastly I kept the reflector on the right to ensure there wouldn’t be too many deep shadows.

It’s a set-up I never tried before - but I really loved how it all came together, better than I had anticipated in advance actually: I decided to use my picolight with fresnel on the left as the main highlight point of my image - giving just a little bit more strength so it would draw our eyes first there. Because broncolor their gear allow me to go even a tenth of the strenght, I could really work it in detail how much I needed, while equally doing the same on the other side to ensuring that my softlight reflector would give enough strength without dominating the scene. I wanted both lights to give a backlit feel in the hair and give a beautiful rimlight on her face and body.

To compensate the mostly backlit set, I used the octabox to fill in the remaining of the portrait I was taking - as I still wanted all the details of the make-up, hair and and styling to be clearly seen.

In post-processing I only enhanced the colors, mostly the red and teal, finished with some minor dodge and burn and cleaning up some distractions. For this capture one pro has been a massive gamechanger as I’m able to work much more in depth with my color work without affecting the quality of my images.


Want to read more about part 1? You can find my first blog where I shot the same set with just one light and a reflector by clicking the link!

LucyWarrior10.jpg

Gear I’ve used

broncolor move 1200L + octabox
broncolor picolight + fresnel attachment
broncolr siros 800 L + softlight reflector p
Giant white reflector

Shot on a Canon 5D Mark III with a 50mm 1.4
Edited in Capture One Pro & Photoshop

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Credits Creative team

Model - Luce Del Sole
Makeup & Hair - Eline Deblauwe
Dress - Maria Heller designs
Spine Necklace - Eero Hintsanen
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Light Diagram

Made with the light Diagram Creator

Made with the light Diagram Creator

How it was lit: Fervor - Artifical & Natural Light

How it was lit: Fervor

My first time using artificial light on location

It’s been a few weeks since I’ve done this shoot, but I’m so happy I can finally talk about it: my very first time using artificial light outside. When I became a broncolor GenNEXT ambassador, I quickly knew I wanted to have the possibility to work outside as well – as I felt that was something I rarely did anymore. Mostly because I felt uninspired and I love how I’m able to use artificial light to create certain moods and feelings – but it was something out of my reach. This entire set was shot with a Siros 800 with just one modifier (a Softlight Reflector with diffuser) and being able to just pack it up and go is pretty mindblowing. Everything is battery charged and I made it through the entire session with just two, with the second still going strong and steady.

For this specific shoot I had some of my favorite people on set: Eline Deblauwe who was taking care of hair and make-up, my gorgeous muses Luce Del Sole & Van Spooky Pants, with dresses by Church Of Sanctus – a London base independent vegan brand – and amazing jewelry by Finnish designer Eero Hintsanen.

For this one I only took one modifier with me – as I had this idea to create very deep and contrast like images with the urban location we had in Antwerp: which was the Siros 800 and the Softlight Reflector with a diffuser. I did my first try with Spooky and it took me a bunch of attempts to figure out the “how” as the first images looked like the (what I don’t like) typical look I see very often with artificial light outside.

Try-Outs.jpg

It all came together the moment I positioned my model against the beautiful, strong evening light we had on that fall day and I used the light to fill in my model rather than to use it as a main light. And that was basically the magic I was looking for. The first try (with Spooky) resulted in some heavy chromatic aberration (which I’ve been able to work away), for the second shoot I positioned my model in a more overcast setting and used the shadowplay of the building we where shooting under for a different kind of look.

I positioned my light mostly on the left, angled up at a 45 degrees downwards while the rest of the image was mostly lit by the evening light. It resulted in a deep, contrast like set of images without losing any details and an absolute minimum for editing. Most I had to do was color conversion and adjustments to contrast and light – with just a few minor distraction removals.

And on that note: The Siros 800 is an absolute beast - the HS (High-Speed) was able to balance out the beautiful evening light and merge both light sources together. It is definitely visible it’s not only using natural light, but it doesn’t has this overpowering feel to it like in my first tests and that was the look I was going for.

Lane1.jpg

I shot a second set near the water, which was a bit more tricky as I had more natural light and the sun was setting, but again I was able with some minor adjustments to get it all done and ready to shoot with a similar set-up as before. As before, in post-processing I barely had to do any editing as everything just flawlessy came together on set.

I will be going outside again shortly to try more of this, this time with colored gels and/or more modifiers but that will be for another blog. Thank you for reading and I hope you enjoyed!

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