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Archive 2019 · How to deal with client insisting on "natural light " conditio...

Weaselwagon
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p.1 #1 · p.1 #1 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Dealt today with a Smaller fashion designer more concerned with a damned wall as a backdrop with some graffiti on it (which totally overpowered the dress) in the brightest midday light possible-how does one diplomatically explain that perhaps it would be better to cross the street into the shade since even HSS,a 1200 watt double ad600 head and a 50 stop ND wouldn't help? Figured I'd post this here since Benji K posts here and has decades of experience dealing with much bigger fish than this....

Mar 16, 2019 at 11:41 PM

chez
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p.1 #2 · p.1 #2 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Any time of day the light along the wall is more flattering?

Mar 17, 2019 at 07:40 AM

friscoron
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p.1 #3 · p.1 #3 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

I presume you're hoping to hear from Benji on this then?

Mar 17, 2019 at 09:50 AM

KristinSmall
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p.1 #4 · p.1 #4 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Do you have some large diffusers? Refectors often have them -- or you could even get a large piece of cardboard.

Mar 17, 2019 at 10:52 AM

airfrogusmc
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p.1 #5 · p.1 #5 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

If it were me I would remind the client that this is what I do and you, the cleint, need to let me do my job so we are able to achieve the desired result. There has to be a time of day when the light would work on the area the client wants to use. Also you need to let the client know that you need to be able to work without your hands tied. You are the pro and you need. Time of day to have the right light is just one key element. That's my 2 cents take it for what it is worth.

Mar 17, 2019 at 11:19 AM

chez
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p.1 #6 · p.1 #6 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

There might be some real significance to the graffiti that the client wants as a back drop. Might go hand in hand with the new designs. Might be a good question to ask as its their vision for the fashion they are creating.

Mar 17, 2019 at 11:31 AM

Weaselwagon
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p.1 #7 · p.1 #7 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

This could be it's own new post-now the Designer is trying to talk me into giving her the RAWs..i asked her if she would allow anybody to take her latest patterns and templates and "finish" them for her,she seemed to understand that..

Mar 18, 2019 at 12:42 AM

Paul_K
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p.1 #8 · p.1 #8 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

KristinSmall wrote:
Do you have some large diffusers? Refectors often have them -- or you could even get a large piece of cardboard.

In addition to the above remark, did you ever check the video's by Joe Mcnally on his use of the combination of a big translucent 'reflector' (to block harsh sunlight) with flash light eg https://profoto.com/in/profoto-stories/joe-mcnally-explains-high-speed-sync or the ones he made for samys photo?

In several of those videos he shows how to break down the harshness and high contrast shadows of direct (mid day) sunlight, while, thanks to the flash, still have the camera's settings 'fast' enough to not have the background blown out and have both model and background balanced enough to show color and detail

Or, in your case, if the designer still wants to retain a 'punk' feeling due to harsh light, you could use a big diffusion screen to block the direct sunlight on a large area of the model and background, and an additional open flash or on camera speedlight to still, but in a more controlled way, capture a 'street' feeling

I myself back in the day used on camera flash (combined with high ISO - to also capture enough of the existing light - cross processed film) to create a punky/street feel with harsh, yet controlled light, when shooting 'alternative' models
https://a4.pbase.com/g9/20/670620/2/159141667.SfrEPfl0.jpg
https://a4.pbase.com/g9/20/670620/2/163055137.HR1LHJzt.jpg

The use of big diffusion screens to break down harsh sunlight with additional lights for creating the actual lighting schedule on the model/subject is quite common in film/cinema, but also used by eg
Peter Lindbergh
http://www.peterlindbergh.com/stories/22
and
Anni Leibowitz
https://de.phaidon.com/agenda/photography/articles/2018/november/05/9-smart-moves-annie-leibovitz-uses-to-shoot-great-pictures/ in photography
(in particular the first image of her at work with Nick Rogers, Lazy D Ranch, Houston, Texas, 2008)

Mar 18, 2019 at 06:11 AM

Weaselwagon
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p.1 #9 · p.1 #9 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

I've been hesitant to start bringing in scrims because I already bring in about sixty pounds of gear to shoots by myself on a handtruck,looks like I'm going to need bringing something as a standard piece of my load now...

Mar 18, 2019 at 08:15 AM

JohnSil
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p.1 #10 · p.1 #10 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Weaselwagon wrote:
Dealt today with a Smaller fashion designer more concerned with a damned wall as a backdrop with some graffiti on it (which totally overpowered the dress) in the brightest midday light possible-how does one diplomatically explain that perhaps it would be better to cross the street into the shade since even HSS,a 1200 watt double ad600 head and a 50 stop ND wouldn't help? Figured I'd post this here since Benji K posts here and has decades of experience dealing with much bigger fish than this....

LoL, Weasel, are you whining, looking for advice or just waiting for BK to show up?
You could have started by telling the client you were not equipped to do the job!!
I would have stopped down enough to handle the highlights then used the light to fill. It's how Joey L does nearly all his photography. It works in the desert at high noon.
Or as was said you could have used a scrim. Use a scrim or large cardboard, then again your light to add the light back in.
John

Mar 19, 2019 at 01:42 AM

pressdone
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p.1 #11 · p.1 #11 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Scrims are the only things that make sense, unless you can get an assistant to stand on a stool and hold a really large disc diffuser. Or you could just blow out the shot and show your client the back of the camera

Mar 24, 2019 at 07:56 PM

Steve Wylie
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p.1 #12 · p.1 #12 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Maybe the hard light at mid-day is what the designer is after? Or, you could simply bring a reflector to bounce some light into the harsh shadows, if fill is required. Or, perhaps bring the model out away from the graffiti wall and use shallow depth of field to separate the model from the wall?

Mar 25, 2019 at 02:20 AM

story_teller
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p.1 #13 · p.1 #13 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Have the designer hold the scrim. Once their arms start getting tired, the wall won't look quite as appealing! (lol)

Mar 25, 2019 at 07:51 AM

pasblues
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p.1 #14 · p.1 #14 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

When a client insists on something, I make a deal with them to do their choice, then do my choice. I don't say it like that but just make sure their idea gets done then do my own idea.

Ugh, when is the graffiti wall trend gonna die?

Mar 26, 2019 at 09:32 AM

RustyBug
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p.1 #15 · p.1 #15 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

Weaselwagon wrote:
Dealt today with a Smaller fashion designer more concerned with a damned wall as a backdrop with some graffiti on it (which totally overpowered the dress) in the brightest midday light possible-how does one diplomatically explain that perhaps it would be better to cross the street into the shade since even HSS,a 1200 watt double ad600 head and a 50 stop ND wouldn't help? Figured I'd post this here since Benji K posts here and has decades of experience dealing with much bigger fish than this....

Large bracket / double exposure, composite, gradient in post ... you can include it, then reduce the draw of it. As you (et al) know, the mission is the dress not the wall. It can be there, just make it play second (or third) fiddle.

Explain that as a fashion designer, they know how to DRAW the eye using their medium (fabric, shape, color texture, etc.). You know how to DRAW the eye using your medium (light, lens, exposure, comp, etc.).

Apr 13, 2019 at 10:29 AM

flashinm
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p.1 #16 · p.1 #16 · How to deal with client insisting on "natural light " conditions resembling the Hiroshima blast

If I had a client insisting on natural light, I would shoot natural light. Pretty simple. Plenty can be done with harsh light. I would set the model so that the sun produces Rembrandt style lighting and either add a reflector for fill or soften in post. One thing you can't do much with is squinty eyes, but if that's what they want and they are adamant, go shoot it.

Jun 14, 2019 at 12:39 PM


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