Environmental Portrait Indoors

1. Pre-light polaroid & diagram

The client's brief in this assignment was to provide an image of a businessperson in their environment, suitable for the front cover of Time magazine.  My first step was to research the magazine for some general guidelines about composition.  Since the client had specifically requested an 'environmental' shot, this ruled out the magazine's more recent trend for using close headshots.  I selected three covers to start thinking about composition.

 

The location for the 'pre-light' was 1 Place Alexis Nihon near Atwater Metro. Our 'subject' was to be a businessperson/music executive responsible for revolutionizing the recent trend for aggressive marketing in classical music.  With this in mind, we scouted the location and were able to find a suitable space with a convenient grand piano that we felt would provide a suitable feel for the finished shot.  However, at the outset this location was obviously going to present a challenge in terms of its mixed colour temperatures and the fairly wide latitude between shadow and highlight areas.  Below is a rough diagram of the layout, with ambient light readings taken at 1pm on an overcast day with a lot of reflection from fresh snow in the background (perhaps suitable as contrast for the magazine title).  All readings were taken assuming a shutter speed of 1/125th and ISO 1000 (tripod needed!).

Initial test shot 1\125th @ f2.8

Based on these readings it was clear that we would have to balance the interior light sources and manage the strong highlight coming from behind the subject.  We decided on the following equipment list and setup:

1 x Profoto kit (with reversible umbrellas)

3 x tall light stands

1 x umbrella adaptor

2 x Sunpak or equivalent hand flashes

1 x optical trigger (if necessary)

1 x shoot-through white umbrella or small softbox

6 x extension cords

Light meter

Grey card

1 x remote transmitter/2 receivers and cables

1 x white reflector

Masking tape or rubber mats

Magazine layout, laptop and Capture One (n/a at time of shoot)

Tripod

Remote shutter release

Green gel (for fluorescent correction) 

Due to the wide range of exposures in the test shot, we also realized that we should prepare to bracket the background in order to provide material for composites if necessary.  Our desired effect was for an atmospheric 'naturally lit' portrait which in photographic terms would be provided by around a 2:1 ratio in order to give the subject some appropriate drama. The initial plan was to light the large open space behind the subject with two Profoto heads and umbrellas pointed upwards and bounced within the large well above the piano.  The keylight would could from a frontal softbox and the fill from what natural light we could control through shutter speed and strobe power.  For the final shot we planned to balance the colour temperature to the most abundant light source, in this case for the Profotos (5500K).  A lighting diagram and layout are given below:

Secondary test shot 1\40th @ f5.6 90mm.  Obviously there were issues with the camera settings but we decided that this composition was more in keeping with the client's brief.

2. Pre-light report and analysis

1. Our intention in this shot was to use natural light as fill.  Because of the strong backlit element in this setup we have tried to anticipate some of the problems this would bring.  On the positive side, the relative brightness of the background would serve as a contrasting background for the title text and tend to emphasize the stature of the model.
2. The final shot will use a 35mm prime lens.  This is partly because there is no need in this composition for either a wide angle point of view or a compression effect.  This lens choice will also give us more latitude for experimentation with depth of field.  The location background has some distracting lines and these need to definitely be out of focus.
3. See above.  For this reason, we intend to shoot at around f5.6 or f4 as a minimum.  It will still be necessary to have all of the subject in focus.
4. We plan to shoot at 1/125th both to avoid blur caused by movement of the subject and to stay well within the maximum sync speed of the camera when it is linked to Profoto heads.
5. Given the conditions during our pre-light, these camera settings should be achievable.  We are prepared for experimentation, however!
6. There is more than enough power in this setup.  In the case of uneven flash distribution in this location we can supplement with another umbrella and a Sunpak.
7. For our chosen setup we found that we were able to achieve a wide variety of different exposures by physically changing the height and direction of the Profotos.  The answer to this question would be 'no.'
8. In terms of technical problems we anticipate some issues with the background highlight.  We plan to bracket exposures without the subject in order to have the opportunity for later layer adjustment in Photoshop.
9. In this location there is a mixture of daylight, strobe and fluorescent light.  The starting colour temperature will be preset on the camera using a grey card reading.  We will also come with green gels for balancing the fluorescent light.  However, we do anticipate a challenge here because the shot has three semi-concealed sources, including a large well above the piano.
10. The pre-light raised some fairly elementary points.  In terms of equipment it would be advantageous to have a power bar and more extension leads.  For pre-visualizing the layout it would be critical to have a lap top and appropriate capture software in addition to the client's layout.  These things are in addition to the equipment list given above.  For the day of the shoot itself we need to check building permits and insurance.  By this time a model would have been selected and a release prepared.  We will also need to take care of parking and anticipate any last-minute problems.