BY CHRIS KNIGHT
A dashing love for
cinema and art history
brings about considered
approaches to theatrical
styles of illumination. S TA G E
At a private workshop in New York with the model Ragnhild
Jevne from Ford Models, we were going for a Vanity
Fair-inspired, Old Hollywood-style fashion portrait, using an
old ladder and a decorative lamp to fill out the scene.
The key light was a Profoto D1 with a 65-inch Extra Large Deep
White Umbrella with diffusion, placed high and camera right. The
fill was behind the camera, a second D1 with a 51-inch Large Deep
White Umbrella with diffusion, which helped control the overall
contrast in the image. A third D1 was placed high and behind
the background with a 33-inch Small Deep White Umbrella to
accentuate the haze from the haze machine I had going at the
bottom of the set at camera left, which was mainly meant to lower
the overall contrast in the image and give a little more physicality to
the light, making the beams show up in the photo.
I love the idea of giving the light in an image more weight
beyond just lighting the subject or scene, but the machine itself
was tricky to work with; it was either too strong or too subtle. We
ended up using a fan to blow it off the model while still keeping it
pretty heavy in the room to create just the right amount of contrast.
Lastly, a small speed light was gelled and placed inside the lamp
on set for creative effect. Everything worked together to create soft
light and play up the cinematic atmosphere.
CAMERA: Pentax 645Z Medium Format
LENS: Pentax 90mm f/2.8 Macro
EXPOSURE: f/13 at 1/80th of a second ISO: 100