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Archive 2013 · How did Marco Grob light these pictures
  
 
pjny
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p.1 #1 · p.1 #1 · How did Marco Grob light these pictures


Do you deconstruct what type of lighting Marco Grob used especially in the Robert Downey Photo. Very interesting use of spot on his face as well as hard rim lights. I really like the lighting on the Dicaprio photo too.

http://pleasurephoto.files.wordpress.com/2012/09/robert-downey-jr-photo-marco-grob.jpg

http://pleasurephoto.files.wordpress.com/2012/09/leonardo-di-caprio-photo-marco-grob.jpg

http://pleasurephoto.files.wordpress.com/2012/09/george-clooney-photo-marco-grob-b.jpg



Jun 19, 2013 at 09:45 PM
pr4photos
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p.1 #2 · p.1 #2 · How did Marco Grob light these pictures


Very nice indeed


Jun 19, 2013 at 09:49 PM
Paul_K
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p.1 #3 · p.1 #3 · How did Marco Grob light these pictures


Four light set up for the Downey shot

Probably either softbox with barndoors or striplight on high right side (check the shape of the light inn the eye) with a very soft fill in on low left side (again visible in eye)

Two spot/snoot lights diagonally from behind

My preferred reading on this kind of lighting:
Lighting for Portraiture (by Walter Nurnberg)
50 Years of photograhing Hollywood (by George Hurrell)
The art of the great Hollywood potrait photographers (author John Kobal)






Jun 19, 2013 at 10:10 PM
rico
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p.1 #4 · p.1 #4 · How did Marco Grob light these pictures


Shallow depth-of-light in the last pic: brightest down low, becoming darker going up. Note the parallax in the catchlights.


Jun 20, 2013 at 06:04 AM
Specht
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p.1 #5 · p.1 #5 · How did Marco Grob light these pictures


Hey,
I tried to replicate the lighting of one of his images as close as possible (including facial expression). I really love the way he lights. :-)
What do you think?
https://www.flickr.com/photos/dark-ness/15633672476/https://www.flickr.com/photos/dark-ness/15633672476/



Oct 29, 2014 at 10:01 AM
Deezie
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p.1 #6 · p.1 #6 · How did Marco Grob light these pictures


It's two lights for both DeCaprio and Downey. One strip box and another light coming from behind - which probably has a grid or another strip light. There seems to be some flagging used in Photoshop because we can see the full strip light reflecting in the actors' eyes, and so the light from the stripbox would've lit-up part of the actor's body.

Nice, moody work.



Oct 29, 2014 at 03:54 PM
pjny
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p.1 #7 · p.1 #7 · How did Marco Grob light these pictures


Wow, very impressive Specht. Can you please describe your lighting setup. i am often trying to put a narrow strip of light on the face but a few expriments have not produced the kind you have on the left side of the face where there is a little bit of dark separation between the rim light and the light on the face. Great job.

I used two Matthews road road rag flags [] [] next to each other to limit the amount of light from a kino 4 foot passing through the middle gap of the flags but the effect was too broad on the face. I also cut a square in a large piece of black chloroplast but the effect was not good on the face.

Do you need to do multiple flags to cut down the light? I heard Albert Watson uses multiple flags at different distances to focus the light on a particular spot of the body.




Oct 29, 2014 at 03:56 PM
 

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Gregg Heckler
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p.1 #8 · p.1 #8 · How did Marco Grob light these pictures


He's an Elinchrom guy. The first is a single strip box, probably a 14" X 35" Rotalux (maybe 20" X 50") camera right, with standard reflectors and grids back left and right. DeCaprio is strip on the right side of his face and the 70cm Rotalux on the left side. You can see them in the catch lights. And the 3rd is probably a single 70cm or 60 X 80cm Rotalux underneath. Check out the Elinchrom site and their Gallery for more of his stuff. Nothing too difficult just quality light well placed. It helps when you have high profile models also. I'm sure the low key for the clothing is done in software.

Edited on Oct 30, 2014 at 03:41 AM · View previous versions



Oct 30, 2014 at 03:19 AM
pjny
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p.1 #9 · p.1 #9 · How did Marco Grob light these pictures


Wow, thanks. Very informative. Why does his assistant have the black flag in front of the octabox in many of the pictures. What are they trying to flag?


Oct 30, 2014 at 03:19 AM
markymarc
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p.1 #10 · p.1 #10 · How did Marco Grob light these pictures


A quick follow up question: Is the set fairly lit to get the eyes nice and wide like that? Do they use a higher fstop to cut down on the ambient light and then just power up the strobes to get the look.


Nov 01, 2014 at 01:13 PM
Gregg Heckler
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p.1 #11 · p.1 #11 · How did Marco Grob light these pictures


Th pupils are dilated because there is not a lot of ambient light on the set. Modelings lights on a darker set will cause our pupils to dilate which may or may not be a good look. The ambient light is controlled by shutter speed and light modifiers such as grids and flags. Also the distance of the subject from the BG.


Nov 01, 2014 at 04:38 PM
rico
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p.1 #12 · p.1 #12 · How did Marco Grob light these pictures


markymarc wrote:
A quick follow up question: Is the set fairly lit to get the eyes nice and wide like that? Do they use a higher fstop to cut down on the ambient light and then just power up the strobes to get the look.

Do you mean eyes or pupils? Your eyes will be wide, unless you have the sun or a 500W modelling light shining into your face—obviously no squinting issue in the shots above. The pupils are relatively constricted (black part of the eye is small): you can get this result with a 100W modelling light, or some ambient lighting. My studio has overhead fluorescents that generate about EV 8 (ISO 100) of ambient, which is standard for an office workplace and keeps pupils constricted to the extent seen above. This ambient is killed at the apertures I use for portraits (f/5.6-11) so I rarely use modelling lights to influence the iris.

My studio as illuminated with fluorescents. Exposure is f/2.8, 1/30s:



Fluorescents are on, but have no effect @ f/8, 1/250s:



Fluorescents are on, but have no effect @ f/8, 1/250s. Key is Profoto Magnum reflector (13"), with wide-area fill, no modelling lights. Note pupils are not wide open (dilated), nor are they constricted the way they would be on a sunny beach:



All these shot at ISO 100.



Nov 02, 2014 at 04:37 AM
Gregg Heckler
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p.1 #13 · p.1 #13 · How did Marco Grob light these pictures


That's exactly what I meant. Without a lot of ambient light your pupils will dilate more. The challenge is having enough ambient light to keep that from happening but not so much that it may effect the exposure or cause a color cast on a pat of the image. It wouldn't matter with B&W.


Nov 04, 2014 at 04:31 AM
Specht
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p.1 #14 · p.1 #14 · How did Marco Grob light these pictures


hey there, sorry for my late answer..but here we go
i took a shot of the setup from another perspective:
https://www.dropbox.com/s/e4ps3806hkw2882/IMG_0462.jpg?dl=0
that should tell you a lot. :-) obviously also, there's not a lot expensive gear involved here. but i wished i had a modeling light for the softbox so that i can tell where and how the light falls.
so in my setup it basically was key that it used a strip softbox (or just flag it like that) and put your face very close to the edge of it. this way you get the strict cutoff on the left side and a nice falloff over the face.
you can also see the 2 flashes i placed to the sides for the strong highlights.
btw. i placed that tiny blue box on the floor where i stood.

i overlooked that detail with the pupils...so more ambient would've indeed been helpful. ^^



Nov 11, 2014 at 08:38 PM





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