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BarryMiles Premium
BarryMiles Apr 16
Great lighting

Behind The Lens

This photos was shot in an emergency staircase in a private school. We set up this shooting for Florence Brialmont Fashion Designer's 2019 collection.
It was a bit after noon, the sun was expected to be kinda low, at least not too high to take advantage of the light going through the holes of the metal plates closing the space.
As said, the lighting was based on how the sun would enter the space through the holes. In addition to that, I used an Elinchrom Quadra 400 with two naked fast heads for crude lighting from the inside of the staircase.
The camera is a Canon 5DmkII, the lens is a canon 16-35 f2.8 L, the Flashes are two Elinchrom Fast Heads powered by an Elinchrom Ranger Quadra.
We worked hard to set up 8 places to shoot the entire collection which had 8 silhouettes to feature. The whole concept was to create atmospheres you could relate to Alfred Hitchcock's movies with heavy expressions of fear, surprise, con, runaways, and so on. This particular set was about a surprised woman in an exterior staircase. This actual picture is a detail shot for showcasing the lines of the blouse.
I hardly do any retouching. I only raise the brights, deepen the darks, and thus add a bit more contrast to the whole picture. There is hardly anything else done to this image.
In my camera bag
I normally have a Canon 5DmkII, a 50mm f1.8, a speedy f2.8 70-200 for sports and portrait, a Canon 550D that kinda gets old, but which is my absolute companion due to its really good captor (still one of those that actually are optimized for pictures, not video) with a lot of bit-depth, that goes along with a Sigma 17-70 f2.8-4 that adds a lot of character to the pictures. The Elinchrom stuff is not a transportable setup for me to carry it along each time, which makes me mainly shoot in natural light.
You have to focus on reflection, on how the incident lighting would alter the image. When I say alter, it is not in a bad way. The expected effect here was even more impressive when we got to the shooting... the sunlight comming through the holes, the flash triggering direct light, and the reflected light on the metal plates made it really impressive... even to shoot ! Besides that, you have to prepare, imagine, reflect on how you could render emotions, fragility, delicacy. It took me about a month and a half to build up the whole set of shootings that took place on a 3 week-ends span. The key is preparation and imagination.

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