Bill,
what Frank said.. If you don't feel comfortable with the lights in a way like you know what results you will get from doing this and that, don't use them.
I had a quite similar experience to what you will be doing last nov. when asked to do a CD cover/booklet shoot for a group of young vocalists. I planned it very carefully, borrowed lighting/studio equipment from a friend et..
I ended up having 30 minutes to set up lights, place softboxes, mount a backdrop and do the shoot in a house I didn't know with people I didn't know - except for the colored fella 🙂 due to a "slight" organisational error on their part, they "forgot" to tell me they'd be doing another concert the day of the shooting and the shooting would conequently have to be moved to 8 o'clock in the evening just before the 2nd concert. 😀
No comment on how I felt..
What I did was skip everything, (as I didn't feel comfortable using the lights with the low ceiling they had there anyway, and since apparently they didn't tidy up the floor I let go of the backdrop idea too..) pack out the backup cameras (my Mamiya 6 and my M4-P), a monopod, and shoot through as many rolls as possible.
Eventually this also turned out to be a very good idea as they had to leave 10 minutes early.
The first minutes of the "shoot" were literally HELL and my body politely made it clear he'd rather be down there than doing this job by making me sweat like a pig.
The group were focussed on the concert already in a very anxious, tied up "just do what you're paid for!" kind of way, so I even made some very unfunny jokes about this and that, which to no suprise hit on a welcoming wall of ice.
I kept on poking wholeheartedly though, and it paid of. I had half of them when I accidentaly fell over some books lying on the floor, and eventually they all warmed some more when I started talking about food.
I guess it wasn't the hardest part to "crack the ice" since I was on average only 2yrs older, but it wasn't easy either. Painting my nose red and farting would have probably achieved faster results though.
What I have learned:
- The most important thing is to make the subject feel comfortable and/or secure no questions asked. It is frustrating and often wasted effort to shoot grumpy or anxious people, and will most definetly show in the results.
Also, a camera can be very intimidating, especially if the shutter sounds like a hunting rifle (mamiya RZ)
- Talking helps: Most people like talking, some like listening, but I haven't experienced one person who wants/enjoys total silence during a shoot. (but mind the memorial services, very quiet stuff 😉)
People like to laugh, and photographers do, too!
- without a handheld lightmeter, I could have gone home right away. The averaging function as well as reliable spotmetering has proven to be invaluable there, as my brain was working on full auto anyway entertaining the "audience"
- mind harsh lightsources from below or above the subject at close distance (that is except if ya know what you're doing)
This was almost unavoidable in my situation, so if you only got an ugly ceiling light as a main light source make them raise their heads slightly to avoid the "Addams family' look.. recessed eyes and shadows beginning under the eyebrows.
You wrote on your test shots site you already had the pleasure of experiencing this firsthand so you shouldn't have any problems since you know how to avoid it...
I interned at a studio/location photographer/graphic bureau for 9 months and they taught me more than I could keep in mind but here are some things that might further help you:
- different skin tones and especially differently colored/contrasty clothing have to be handled with GREAT care and consideration, especially when using direct lighting. Different fabrics reflect/absorb light differently and as a rule of thumb, dark clothing should be placed closer to the lightsource as it eats up/absorbs more light..
- Whether you use diffused lighting or direct lighting is a matter of preference but definetly dependant on both the subject and what look you want to achieve. Generally speaking, diffused low contrast lighting is often more flattering for female subjects or kids, while contrasty direct light makes them, well I guess more contrasty 🙂
- The number of lights you decide to place is also a matter of preference, FWIW I was always told only to add more lights if for a good reason. I was amazed on what a difference one light source vs. a soft box/reflector can make if used accordingly.
- Reflecting lights were a huge issue in the studio, and the make up artists were underpaid for the help they'd do.
reflecting fabrics I've already mentioned, reflecting eyes shouldn't be much of a problem if you don't put a 1000W spot within arms lenght, but I learnt the hard way that different types of skin are reflecting light differntly at best, more unpleasingly at worst. You can compensate for that by moving arround the subject/lights but group shots may need a make up artist or some powder.
- Placing the lights can be very difficult with limited space/ressources and sometimes skipping them wholy isn't the worst thing to do, especially on location. Don't underestimate everyday "ressources" like white walls, ceilling, floor, linen, clothing (brides dress!), curtains, sand, water etc...
- Choosing on which type of light to use is a tough decission as available light can't unfortunately be relied upon in most places. As with most things, it's always nice to have a backup plan! Available light would always be my first choice, and you will have a hard time reproducing its look and qualities in a studio, and even more in "normal" rooms with few space.
If the weather allows and you have slightly overcast sky or indirect sun, I'd place the couple half way aside the window maybe one meter next to the curtains, maybe! drop a medium softbox facing the window/couple's shoulders on the floor or onto a chair, and maybe! if the outside light is already fading or its raining buckets I'd place a spot or strobex with a silver or even white umbrella diffusor in some 2-4m distance as high as you can put it facing the couples front-right side. (If the contrast's too hard even with the softbox)
- Since you will be using at least 6x7 you will already know this, the larger negative often makes for a nicer tone, better shadow detail yadayada..
- forgot this when mentioning the reflective surface thing:
b carefull using a spotmeter on tanned skin, and if the groom is sweating badly don't spot meter his forehead 🙂
I'll add the things I don't remember ATM later, hope you are able to fish out the interesting parts..
P.S.: Having said that, a 4x5 and a full fledged lighting set up may deliver what the clients want, but I would at least have a 35mm loaded with something liike fuji 800 or portra or even Acros/TX handy and snap away happily without worrying too much about strobes, flash, using only vailalbe light. Often those shots turn out to be keepers because of their natural authenticity and honesty ...
sorry for the typos it's half past 5 in the morning 😀
Enjoy you shoot and best of luck to you Bill!
cheers
Phil
