I've been approached by a local mine to do some media and publicity photos for the operation. They want captures throughout the underground mine, equipment, operators, the whole deal. In addition they are offering to front money to cover equipment I may need to complete the project...like more lights, and some PW's.
I know I could use the ambient light from a trucks headlights, and a softbox to light camera side of a truck, while using say, a strobe in an umbrella behind for a cool shot...I think...the issue is...I'm not going to be convincing with just one photo.
I need any and all tips/suggestions as to what equipment I should be packing into the mine, what techniques I should be using.
Stuff like that. I'm one of the most viable options for them since I'm safety trained for the mining industry, I think that is why they've come to me first.
Every time I've been in a mine, I got the impression it's really, really dark. Hard to say what equipment you'll need to add as you haven't mentioned what you have.
Also, what's your experience in lighting something like this?
The equipment depends on what the shot is as well. Is there an Art / Creative Director? Will you need models / people? Action shots or Is it all static? What kind of mine? How large is the output required to be?
There are so many more questions... but it's getting late here so I'll revisit the thread tomorrow!
(FWIW, I haven't shot anything like this but have worked in dark, remote places.)
Personally, I would not be approaching something like this as a 2-light endeavor. Were I responding to the brief, I'd probably be planning something like 8-10 Nikon SB-800 Speedlights, probably only using diffusion, gels and Cinefoil for modifiers, working with either CLS or PocketWizards for triggering. Were price no object I'd go with Profoto 7B's instead, probably 4 packs and 8 heads, but that dramatically increases the load-in weight and need for assistants.
I'd also plan on having some kind of battery-powered worklights, since I wouldn't have modeling lights to work with. Everything would be packed into Pelican cases for transport, as I understand that mines are both very dirty and very wet. I would also make sure that there was a budget for a tech scout of the actual location, and I'd spend time shooting proof-of-concept shots in a space like a dark garage or warehouse to make sure that my lighting approach was sound.
I'd probably go with an oblique hard-light approach, limiting each light to small areas and using them to specifically light just small parts of the frame. Using color to separate objects. Backlighting and rimlighting more than front-lighting to maintain the sense of being in a dark space.
But you may have more luck with questions like these in the Lighting forum.
I agree with Simon on the SB800 route, or other similar flash. You will likely want to stay mobile and be fluid in using multiple lights to work with. Space could be limited in some areas, so if your gear is smaller and lighter, could make the job go a bit easier. I would also make sure they offer you some extra protection from equipment damage under these circumstances. Like indicated earlier, there are many conditions in this venue, you wouldn't normally be working under.
I won't have an assistant, except for the mine provided guide. I prefer to remain semi mobile, and relatively compact as most the equipment is designed to squeeze through the drifts. I could prossibly, in a pinch get a third person out there to help.
I'm using a Nikon D40, and Tamron lenses. I have, to count, one light stand, reflective umbrella, strobe, and all this is triggered using a sync cord.
I'm thinking the route I need to go is to purchase 3-4 SB800
at least one sort of soft box rig.
enough PW's for the lot of 'em.
two more light stands
and...ugh...
I know I can push myself to produce some real quality images here. Would working with constant light as opposed to a strobe be better? Or a strobe in a constant light situation?
OK, why SB800s if you're gonna trigger them with PWs? Buy cheap SB24/26/28s for about $100 each instead of new SB800s. Unless you suspect that I-TTL flashes will be of value in the future, I'd cut the cost of the flash by 3/4 and pick up a handful of older flashes.
Hell, you could buy Paul Buffs new wireless transmitter/ receiver (1/3 the cost of PWs) and add more flashes and triggers.
deewaltguy wrote:
OK, why SB800s if you're gonna trigger them with PWs? Buy cheap SB24/26/28s for about $100 each instead of new SB800s.
Because, if possible, having the option of working with CLS could be a huge time-saver - one on the camera in CLS mode, set the others in different groups and do all your exposure control from the camera. It'll allow you to work fast. PWs would be for lights or setups that won't allow line-of-sight.
Also, I wouldn't suggest buying them...I'd be renting them. Even if you're outside of a major market with rentals available, SB-800's are relatively cheap to rent...do a 1-week rental and have Adorama or Calumet ship them to you, then FedEx them back after the gig. Since it would all get charged back to the client it's not going to cut into your profitability on the job.
