shoot headshots on location near the model’s home, but nature intervened
andathunderstormsentushurryingindoors.Rainedout,theonlyoptionwas
to shoot in the model’s small kitchen, using the refrigerator as a white back-
drop. This meant only extreme close-ups could be shot.
Although we had a very limited space in which to shoot, the lighting prin-
ciples were the same as most model shoots. I placed the lights close to the
model’s face, spreading the light over the wide area of the face known as the
mask. A silver umbrella was used in front of the model, placed as low and
close to the model as possible. The camera was placed just under the um-
brella. A second umbrella was positioned just above the model’s head and
aimed at the refrigerator so the illumination was even.
By drenching her face in warm acrylic colors, a whimsical image was ob-
tained. The paint gives the exciting color that the client required.
Work with Performers.
If you’re itchingto try some truly challenging photography, try workingwith
performers whose images needtobe capturedliveonstage. You’llneedtodo
your homework, really know your equipment, and work quickly to capture
the right moments.
Practical Example: Emerald Dream Ball.Image7-31wascreatedaspart
of an advertising campaign for the New Year’s Eve gala at the Rio Hotel and
7-31.Flash froze the subject, while a
longer shutter speed allowed the stage
lighting to record.